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There's not a drop of sunshine in "The Sunshine Boys", which makes the title of this alleged comedy Neil Simon's sole ironic moment. Simon, who adapted the script from his play (which goes uncredited), equates old age with irrational behavior--and, worse, clumsy, galumphing, mean-spirited irrational behavior. Walter Matthau is merciless on us playing an aged vaudeville performer talked into reuniting with former comedy partner George Burns for a television special (it's said they were a team for 43 years, which begs the question "how long did vaudeville last, anyway?"). Burns, who won a Supporting Oscar, has the misfortune of coming to the film some thirty minutes in, after which time Matthau has already blasted the material to hell and back. The noisier the movie gets, the less tolerable and watchable it is. Director Herbert Ross only did solid work when he wasn't coupled with one of Neil Simon's screenplays; here, Ross sets up gags like a thudding amateur, hammering away at belligerent routines which fail to pay off (such as semi-incoherent Matthau showing up at a mechanic's garage to audition for a TV commercial). At this point, Matthau was still too young for this role, and he over-compensates by slouching and hollering. It was up to Ross and Simon to tone down the character, to nuance his temperament to give "The Sunshine Boys" some sunniness, yet Walter continues to project as if we'd all gone deaf. The picture looks terribly drab and crawls along at a spiritless pace; one loses hope for it early on. *1/2 from ****
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Playwright Sidney Bruhl (a wonderfully over-the-top Michael Caine) would kill for a hit play. Enter young wonder kid (a solid Reeve) who's just written such a play. Weave into this Bruhl's overly hysterical wife (superbly played by Cannon) and a German psychic (a very funny Irene Worth) and you've got yourself a wonderfully funny suspense flick.<br /><br />While not up to "Sleuth" standards, "Deathtrap" is none the less a very capable, twist filled comical suspense ride based on a terrific play by Ira Levin. The performers are obviously having a field day with the material, with Caine in particular delivering top notch lines with gusto.<br /><br />The film loses a bit of steam midway through and the ending is a lot less satisfying than the hilarious one in the original play but overall "Deathtrap" is solid, well acted and suspenseful fun.
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Other than the great cinematography by the marvelous James Wong Howe in the battle scenes, this film is a true stinker.<br /><br />This is the second film that I've seen in recent days directed by Alexander Korda. The first was Charles Laughton's "Rembrandt." It was so lousy that I shut it off. This one I'm afraid is not very much better.<br /><br />Flora Robson is as ugly as ever as Queen Elizabeth. Perhaps, her performance as the virgin Queen was good for 1937 standards but when you compare it to that of a Helen Mirren, it is absolutely no match. In robotic fashion, Robson states her lines. Her battle message to the English troops is so lackluster in spirit.<br /><br />Even a dashing Laurence Olivier can't save this utter piece of boredom.<br /><br />Future wife Vivien Leigh is in a supporting role here and she doesn't really convey anything here. To think, that Scarlett was 2 years later!<br /><br />It's a shame that history with the Spanish Armada is made out to be so boring in this film.
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This is one of my favorite horror films of all time and I used to think it never really got its due. That is until I read the glowing reviews here. It seems many feel the same as I did when I first saw it.<br /><br />It's a damn creepy film, and I've spent most of my life watching creepy films. I've always found dolls, mannequins and such damn creepy! Check out the dolls in "Beyond the Door" and of course the great "Trilogy of Terror". And what about the magnificent Twilight Zone episode "Living Doll". Hell, dolls are creepy! And Tourist Trap has some moments that will make your hair stand on the back of your neck. All aided by an excellent soundtrack that just makes Connors' performance even more heart-pounding.<br /><br />I remember seeing the trailer to this film on late night TV and thing, "Wow, I gotta see that!" It was memorable. And it's one of the only trailers I remember seeing as a kid that creeped me out. Took me years to see it, but it was a treat.<br /><br />Stephen King also mentions this film in his "Danse Macabre" book, and gives it a glowing recommendation. Pretty good company.<br /><br />This film will always be high on my list of must-sees. It's a real solid addition to the genre of the time and deserves place alongside the best of the 70s schlockers.
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When a group of businessmen start dying in the presence of the mysterious Mr. Coulomb, FBI agent Dick Martin is assigned to the case. As the deaths continue to mount, Mr. Martin obviously isn't having much success. By the end of the movie, the strange truth is revealed, which I won't reveal here.<br /><br />One of the other users commenting on this states "This is a Classic film and should be ENJOYED and not picked apart". I'm sorry but I have to respectfully disagree with this opinion. It is "classic" only in that it is old, not in any sense pertaining to its quality. I've enjoyed a lot of low budget "B" movies from around this time period, but this isn't one of them.<br /><br />The pacing is unbearably slow, the camera work is pretty bland, most of the acting is fairly wooden (even Lugosi isn't great in this one in my opinion) and the plot, while it has an interesting premise, seems to be thrown together in a very difficult to follow manner.
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Hi, Everyone, Oh, Boy... This one is a lulu. It has really bad background music whenever they can squeeze it in. There are three bad guys who, I guess, are the stars of this. They beat people up and chop people up and crash trucks and bulldozers into people. Usual stuff.<br /><br />The woman who is sending them on their missions is unable to move her mouth when she speaks. It's sort of like watching a bad ventriloquist who is her own dummy. She walks like she is balancing an egg on her head.<br /><br />The wardrobe is 70s leisure style for the men and blah for the female lead who is supposed to be a good nurse. The bad novocain mouth woman wears red. A silk frock perhaps, or maybe just a poplin windbreaker that is too big.<br /><br />I actually liked the ending even though it did not make a lot of sense. It lets us in on what happened earlier in the film.<br /><br />The police officers are OK. Some bad, some good, all stupid except two. The two bright ones could have worked again in Hollywood.<br /><br />The movie starts interestingly enough and ends with a surprise. The middle sucks. The guy in the diner who gives a free hamburger to the star does a good job. He is like a 1940s character actor. Great voice.<br /><br />This one is a bit too long. The lady with marbles in her mouth could have had just a couple of lines and the rest could have been said by a parrot. It would have been easier to understand a bird.<br /><br />Her scene with a sword could have been handled by a trained woodpecker.<br /><br />Tom Willett
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While the camerawork was certainly "funky" - perhaps one dutch-roll short of "stoned" - the premise of the film was fantastic. It really took a scathingly satirical (in the true traditional of Hal Hartley) look at God, Jesus and Devil. The interaction of Jesus and Satan provides some hilarious scenes... Even the monologues of Jesus were great - this was by far the best Jesus I've even seen. So laidback, Zen-like, Son-of-God-ish but still such a nice guy. On one level this is a very general look on the paradoxes of Christianity, but yet there is still a personal level, where you can relate to Jesus Christ without having a God-Complex (thanx to Martin Donovan and Hal Hartley).
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I went into this movie expecting a thoughtfull piece about how to be accepted in culture and I wound up blowing $8.50 on a 10 minute fart joke and a whole bunch of fake accents. Sorry, Jeff, but if you're going for the whole cult thing, you gotta a while to go.
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VIVAH is in my book THE BEST MOVIE OF 2006 ! PERIOD !!. In my book it is one of the best 100 movies EVER MADE IN Bollywood. Its sad that this movie doesn't have that many reviews and isn't having that much popularity. <br /><br />VIVAH is once again a true achievement from a director who DOES it again. After HAHK and Maine Pyar Kiya Sooraj has once again pulled off a brilliant one VIVAH. <br /><br />This is the most simple and cute movies that I've seen this year. After seeing Don 2 which was CRAP and later Dhoom 2 which even beat Don in that matter, I finally see a movie which is so close to my heart and my culture.<br /><br />I don't know why Bollywood is moving away from the beautiful culture which we have and are making Hollywood remake style crap movies like Dhoom 2 and don. <br /><br />The story is beautiful and relates much to the Indian system of Arranged marriage which I too would like to be a part of. Our system which teaches us to obey elders, follow them and of course obey their thoughts is so brilliantly shown in this movie!. Of course there isn't any force in choosing your life partner and it should be a brief meeting between the couple and its up to them to decide as it is brilliantly shown in this movie. <br /><br />Coming back to the movie.....VIVAH is a story of Journey between the beautiful period of Engagement and marriage. The phase where the guy meets the girl !....Both understand each other ..Both try to assess if they could love each other for Seven generations (as our system says) and the various which occur during marriages.<br /><br />Amrita Rao is brilliant in the movie.......Shahid is OK.....and Alok Nath and Anupam Kher are awesome !! The songs are BRILLIANT. ! I especially like the HAMARI SHAADI MAIN HAFTE REH GYE CHAAR and Do Anjaane Ajnabi ......<br /><br />Overall A MUST SEE for anyone who still believes in the Indian culture and tradition and I certainly do !.<br /><br />Go see this movie......I just have to say one word.......<br /><br />BLISS !.
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Thank you Hollywood. Yet another movie classic utterly ruined by a cheap, shallow, effect-heavy and redundant remake. The original "Planet of the Apes" was an intelligent and thought-provoking movie with a very clear message. It was a movie that focused almost entirely on dialogue, which sounds very dull but was in fact very interesting. <br /><br />This movie, on the other hand, seems to have done away with pretty much ALL the dialogues. Instead of a great movie we get an incredibly stupid two hour chase movie. Dialogue has been reduced to a mere minimum, character interaction and development are non-existent and most of the time it's extremely hard to figure out what's going on. Instead, we get a bunch of pointless action scenes, some marginally funny one-liners and some very hollow quasi-intelligent conversations. <br /><br />The only thing worth mentioning about this movie is that it looks absolutely fantastic. The make-up of the apes is magnificent, and the sets and backgrounds are beautiful too. However, this does not distract from the fact that "Planet of the Apes (2001)" is a very shallow and simplistic movie, filled with paper-thin characters, stupid dialogue and a nearly non-existent plot. Please Hollywood, stop ruining great movies by turning them into senseless blockbusters.<br /><br />Oh yeah, the ending did not make ANY SENSE WHATSOEVER.<br /><br />* out of **** stars, mainly for the visuals<br /><br />
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Let me start out with saying I was VERY surprised with the production value of this movie. I managed to catch an early showing and I have to Say this is the BEST (if not only) Christian film to hit theaters since The Passion.<br /><br />Don't let the PG-13 rating scare you off, the rating is appropriate because of the serious issues that are dealt with in this film (divorce, teen pregnancy, drug use, and suicide), but nothing in the film is gratuitous. This is definitely a movie that a Junior High youth group could see without upsetting (most) parents, and the message is wonderful. The best part is this is not a film FOR Christians, it is a Family film without the cheesy 7th Heaven feel.<br /><br />The laughs are there, and several times in the theater everyone was laughing, the bits of humor were natural and didn't seem scripted or forced, and that made for good pacing in such a serious film. Teens and young adult, both religious and otherwise, will be able to identify with many if not all of the characters in the film, and I was surprised to see such issues dealt with in this kind of film. The plot is not in any way predictable, and by the end hits closer to home than many will admit. Christians, fortunately, are not shown as all mighty know it all's of "The Word", but instead people just trying to understand life. Humans make mistakes and no one is perfect, not even in this film... not by a long shot.<br /><br />The acting is top notch, the writing spot on, and you aren't hit over the head with all the preachy Christian rhetoric. This is a great film that will make you and your teens think, talk, and perhaps question their own morality (or lack thereof). If you want to see a quality family film in January check your local listings for this film, and you might learn something about yourself.<br /><br />And I am a 25 year old male that just wanted to see a free movie.
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Well it looked good on paper,Nick Cage and Jerry Buckheimer collaborate again, this time on a mix of heist movie, Da Vinci Code,American History 101 and Indiana Jones. But oh dear, this is to Indiana Jones what Speed 2 is to Speed. A reasonable cast(including John Voight and Harvey Keitel) battles against a puerile script and loses badly. The film is little more than an extended advert for the Freemasons.However these Freemasons are not your usual shopkeepers who use funny handshakes and play golf, these Freemasons are the natural descendants of the Knights Templar (and nobody mention 'From Hell' or Jack the Ripper.)I don't think I've revealed any plot spoilers because there are none. There is virtually no suspense, no surprises and no climax- it just stops. National Treasure aims for Dan Brown but hits the same intellectual level as an episode of Scooby Doo sans the humour.
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**SPOILERS** Redicules slasher film that makes no sense at all with a killer running around dressed in a black robe and wearing what looks like a pull-over Peter Lorre rubber mask. Were told early in the movie, almost the very first scene, that young Beth Morgan was in rehab due to heavy drug use after her boyfriend was murdered in Tennyson Collage about a year ago.<br /><br />It's also brought out that FBI Agent Sacker's (Jeff Conaway), who's obsessed in catching the killer,daughter was also murdered in Tennyson around the same time. By the time the movie "Do You Wanna Know A Secret" is over it's never explained just what those two killings back in Connecticute has to do with the slaughter in Florida of some half dozen collage students a year later? other that the killer, at least in the murder of Beth's boyfriend, wore the same silly Halloween outfit. <br /><br />At spring break in the Sunshine State the six students spend their vacation at a beach house and before you know it they start getting knocked off one at a time. Starting with computer geek Brad Clyton, Chad Allen, the killing even spill over into town with a number of people who have nothing to do with the targeted student including the police chief Gavin, Jack McGee, getting sliced open. <br /><br />The masked killer saves Beth for last in this weird ceremony at a deserted church, in what looks like the Florida Everglades. He then finally reveals who his is and what he intentions are which make as much sense as the movie does, none. Trying to scare it's audience all the movie does is confuse and bewilder it with a number of not-too convincing slasher scenes. The most effective ones having the victim Oz Washington, Tom Jay Jones, survive at least three attempts on his life and ending up, together with Agent Sacker, the hero in the film. <br /><br />Oz also had a vicious cut on is foot from a large splinter of glass that almost cut it in half and crippled him but later he miraculously recovered, after getting arrested for a murder he didn't commit, in fact he had it out two more time with the killer with him not as much as having a slight limp in his walk! It also made no sense at all why Oz and Beth went on their own to tack down and catch the killer instead of calling the police, with a cellphone that Oz had, instead? <br /><br />Beth's boyfriend, who loses his head over her, in the movie Hank Ford, Joseph Lawrence, is also very unconvincing as well as the two girls at the beach house.They together with with Beth Oz end up being the killers victims and then somehow disappearing from sight! for a moment you didn't know if they were really killed at all or if it was some kind of hallucination on Oz's or the local police part. Until the off-the-wall final scene where they popped up in the church.<br /><br />We also get an insight on a previous relationship between Tina and Hank with her, drunk and acting obnoxious, trying to get it on with Hank as Beth walks in without Hank and Tina even noticing her. That seemed to have upset Beth even more then her boyfriend being murdered at the beginning of the movie!
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This is one of the worst films I've seen for years. The storyline has potential that is never realized. The actors are a poor choice, but considering the screen writing, their talent isn't wasted. I really wanted everyone dead as quickly as possible so I could get out and watch something else. Unfortunately, I did stay to the end and had a laugh at the murmurs of people moaning about how crappy this is. There wasn't booing, after all, this is England, just gentle moans about how crap that was. Then, I look on IMDb and see 288 people have given it 10 out of 10. I really just cannot see how those people are able to give that score. They must be a PR company working with the distributor. There's a hilarious set problem towards the end of the film, when in the graveyard and the hick attacks, look out for the dodgy scenery that rocks when touched (supposed to be a brick wall) - the blood effects are waaaay OTT - the film feels like everyone is making a spoof horror except the Director.
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Smartly written, well acted, intense and suspenseful. This show lives in the real world, not as fantastical as is "24",(and I am a huge fan of 24,incidentally). It has believable characters and in many ways is much smarter than most in this genre. It tries to present both sides of Islam. So far, I have watched the first 4 episodes and find the story to be more evenly balanced. The terrorists are more complex and not one dimensional. And as a result of that balance, the terrorists become more frightening than the typical villains being portrayed in film and on television. Last but not least, the hero is truly heroic without being a cartoon. I recommend this show for anyone who is a fan of 24 and the like.
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Another violent, angry fantasy from Paul Verhoeven. Verhoeven is a puzzle: it's difficult to tell whether he takes his sordid impulses seriously, with sardonic intent or operates in complete oblivion. He also seems completely ignorant of the fact that all the brilliant visuals in the world (and this has some outstanding ones) cannot hide a negligence to story, dialogue and performance. Kevin Bacon plays a corrupt scientist who has discovered invisibility and uses it to drive himself into moral bankruptcy. Bacon is normally a likable actor who occasionally shows his dark side (`The River Wild') in an attempt to offset his boyish looks; given the material, however, Bacon isn't nearly hateful enough to compel. The other principals are Elisabeth Shue and Josh Brolin, neither of whom are gifted enough to make a solid impression and who, when forced to deliver inane dialogue, embarrass themselves. The climax is a study in preponderance and disbelief has to be truly suspended.
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I would not be giving away too much of the film to tell you that there are many, many, many, MANY scenes of Lucas (the young protagonist) walking and looking at things! Yep. And you'll be happy to know that the first third of the movie is pointless, meaningless, and pretty much ignored for the rest of the film!<br /><br />This movie is populated by dull people who do dull things, and the dullest person of them all is young Lucas, who is going blind and needs an operation. You see, he has delusions, terrible delusions! He thinks a killer is preying on blind women! He walks around a lot and acts like an insufferable jerk!<br /><br />Patience does NOT pay off with this film. By the end, the plot and events are just as confusing and lethargic, and it is very hard to care one way or the other about what any of the nightmarish images meant. Nothing is made clear, the film moves at a snail's pace, and it left me with the same effects of a hangover.<br /><br />Judging from "Afraid of the Dark," the British don't make stupid thrillers like the Americans do; they make boring ones.
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A very unique Sci-Fi animated film, and frankly I love uniqueness no matter which way it tends to be, better or worse. This French film is quite interesting to watch, the technique part is innovatory, like "Waking Life" I recently watched.<br /><br />It took me quite a long time to get used to the Black-White style, but eventually I love it, the sketchlike images are really fancy! The contracted future world is a symbol of human race's final destination which I adore it very much.<br /><br />The whole plot is fine for a Sci-Fi, not so intriguing but it's OK, like some Hollywood's products, a giant conspiracy about human's eternity, a little bit cliché and the twisted ending is not so convincing, some development is just too plain and insipid, and the whole movie is too long.<br /><br />So I think I'm just in love with the style this film shows, others are not so good.<br /><br />About the eternity of life, I think most people have come to a unanimousness that we don't want eternity because it demolishes the meaning of life, we treasure our lives because they are limited and meaningful, if everyone can live forever, thus the world world will become a disaster and chaos. Leaving someone you love is hard and heartbreaking, but that's also a way to show our lives are genuine and all the emotion fulfills one's life and make the world colorful and lively.
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Jennifer Montgomery's "Art for Teachers of Children" is a stunning, disturbing masterpiece. Montgomery's gritty camerawork and cinematography coupled with the brilliantly unemotional performances she evokes from her cast heighten the sense of shocking, raw realism in this autobiographical story of a 14-year-old Jennifer's seduction of her married boarding-school guidance counselor. The scenes between the amazingly uncanny actress playing Jennifer (Caitlin Grace McDonnell) and Jennifer's mother (actually voiced by Ruth Montgomery) on the phone are some of the most intriguing and powerful I've ever seen captured on film. The lesson ultimately learned here? "There's nothing more dangerous than a boring man who creates bad art." Well, I would highly recommend this remarkable piece of "Art" for anyone interested in thought-provoking independent cinema.
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It's very very funny. You know, just like a comedy is supposed to be. It also looks very very good, like a Hollywood Spectacular should. So, what more do you want? Howz about a very VERY good Sally Fields. She is so much better here than in anything else I've ever seen her in, and she looks so damn good. This movie is all you need to understand why she's a Star. Those eyes! Like a silent movie star, but better. In fact, everyone's eyes are so good. I used to pretend to be a bad TV soap actor with my girlfriend. We'd do that thing where you look real fast from one eye to the other of your partner. They don't do that at all in Soap Dish. Great. The Eyes Have It! (sorry) <br /><br />There's so many terrific performances, its fun just waiting for each of them to reappear. There's a whole workshop going on with Kevin Kline on how to Overact very very subtly. Got that? Yeah, he's damn good. So is Robert Downey, Jr. who has since made sumthin of a career of playing the Slick, Slimy Executive. Cathy Moriarity, while not the most gifted actress, is so charismatic and riveting, especially when she's angry. And even Whoopi Goldberg is decent, her natural timing giving here somewhat flat delivery a little Zing. OK, no Whoopi Bashing, I hear ya.<br /><br />And then, there's the Hair. Soap Dish was made at the end of the BIG Hair Eighties, so the ridiculous doos are like a great character in themselves. They get bigger and sillier, just like your's did. Yeah, we got pictures.<br /><br />Soap Dish is better than I thought it'd be, better that I wanted it to be. I'm sick of Movies that tell me I'm supposed to care about shallow, self centered, semi-talented egomaniacs, ie. TV Soap Actors. Soap Dish seems happy just to have me laugh at 'em. Thank You.
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Being the first feature film with Robert De Niro (although not released for years later), this is worth the watch. De Niro's role isn't huge, yet amusing as one of two friends who first try to prevent another friends marriage only to later chase him down to force him into it. Any die hard De Niro fan will get a kick out of an early performance by arguably the best actor today.
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I should preface this by stating that I am a Dolph Lundgren fan. The man turns out some of the funniest action clichés imaginable and Detention is probably my personal favorite. *Spoiler* even though there is no such thing as a Dolph spoiler since the scripts are so absurd to begin with: a chase scene with a handicapped kid carrying a pistol versus a guy on a Harley with a sub-machine gun, through a high school hallway and the kid wins? Good game, the Oscar goes to Detention. Dolph, if you're reading this, thanks for the laughs, old friend.<br /><br />In summary: Terrific movie that is a guaranteed laugh. I recommend inviting some friends over for this and forcing them to sit through it. Hilarious.
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I had seen this movie before, but I could not remember it was this fantastic: it has a fun plot, Madonna fumbles around the city with pumas etc. causing a commotion. And the music is just perfect! And the happy ending! Who´s that girl is a great choice for a romanticist like me. In my opinion this could be even the best Madonna movie I have ever seen! 10/10
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I can't imagine anyone would ever, in a million years, want to watch this movie. Not because it was one of the worst ever made (it wasn't), but largely because it's about 20 years old and oh-so-out of the mainstream. I was trying to find out where I saw an actor before and this popped up. So, yeah, a kid stops playing little league because he doesn't like nukes, this prompts major media attention and a quick resolution to the cold war. The end. A fantasy, to be sure, but one so cockeyed it would make John Lennon blush. Since terrorism has replaced communism as the -ism that scares the hell out of us, this movie really has no relevance, except as an (innaccurate) look back at those times. The writing, acting, and film craft are similarly undeveloped. The reason I rated it as highly as I did was because I watched this movie around 50 times while I was 5-6 years old and still have a little place in my heart for it, but I now realize that it doesn't quite cut mustard. So, if the law of large numbers holds true and someone eventually does decide to check out this movie, realize that there are much better ways to spend your time, but also much worse ones. (I will refrain from a John Q. tirade for now.)
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i really wanted this to be good as i am from Liverpool where it is set but it truly awful. the acting from everyone involved is cringeworthy the script is terrible absolutly terrible. terrible
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When I first heard that the subject matter for Checking Out was a self orchestrated suicide party, my first thought was how morbid, tasteless and then a comedy on top of that. I was skeptical. But I was dead wrong. I totally loved it. The cast, the funny one liners and especially the surprise ending. Suicide is a delicate issue, but it was handled very well. Comical yes, but tender where it needed to be. Checking Out also deals with other common issues that I believe a lot of families can relate with and it does with tact and humor. I highly recommend Checking Out. A MUST SEE. I look forward to its release to the public.
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Although this was obviously a low-budget production, the performances and the songs in this movie are worth seeing. One of Walken's few musical roles to date. (he is a marvelous dancer and singer and he demonstrates his acrobatic skills as well - watch for the cartwheel!) Also starring Jason Connery. A great children's story and very likable characters.
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This film is a great disappointment. Director Vicente Aranda has provided many interesting films throughout his long career, some of them were highlighted by strong and powerful performances by Spanish actress Victoria Abril. In JUANA LA LOCA, he relies on a gifted actress as well , newcomer Pilar Lopez de Ayala, but this is barely the sole positive element in an otherwise terrible mess of a movie. While Lopez de Ayala tries hard to portray Juana as a romantic and passionate young woman, completely obsessed by love to her handsome husband, it seems as if she weren't able to develop her character over this one-dimensional feature; Juana was an important figure in Spanish history, and politics of that time were essential in her storyline... but here she's introduced as a romantic leading lady out of a soap opera; this is a real pity, and the film a missing opportunity to show the way personal lives can influence History and vice versa. Worst of all, Italian actors Daniele Liotti and Manuela Arcuri turn out in real bad performances, which, in the case of Liotti is a real problem as he portrays Felipe el Hermoso, a pivotal role in this story. It seems a clear choice to attract young audiences, as both of them look like top-models of this era. On the other hand, talented actors such as Giuliano Gemma and Rosana Pastor are completely wasted in supporting roles clearly underdeveloped. Even if this was a big-budgeted film, little care was taken in bringing a good screenplay or creating "period pieces" on the screen. Costumes are particularly grotesque in some of the group scenes, as if they were taken from stock material,without regarding of a real coherence. All in all, the main problem with JUANA LA LOCA (and this is what makes the difference with far superior historical films as LA REINE MARGOT or ELIZABETH) is the lack of a director's point of view. This a strange turn in Aranda's career, as he was able to develop it in other works (LIBERTARIAS and AMANTES come to my mind), creating very personal and interesting movies, while this JUANA really is no more than a routine academic historical piece... and a not very good one at that!
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Soulless milking of cash cow franchise. Generic superhero flick. CGI showcase. Gavin Hood's "A Series of Improbable Events." Combinatoric iteration of mutant fight scenes strung together by inane exposition justifying formation/dissolution of arbitrary alliances. I'm not expecting Shakespeare here but the cliché per minute meter was off the charts: Primal scream while looking skyward and kneeling over murdered girlfriend. Renegade military commander. Predictable double crosses. Revenge sought for slain lover. Erased memories. Evil character discovering morality at last minute. Misguided failures to execute nemeses after defeating them in melee. Lover not really dead. Lover actually acting as spy for hero's arch-nemesis. Girlfriend/spy actually falls for protagonist. Good people work for antagonist in order to save kidnapped family members. Evil mastermind fails to honor promises to reluctant employees. Kindly old couple care for weary hero and get murdered for their troubles. Certain deaths averted as third parties arrive on scene before coup de grace. Hero reluctantly joining secret government agency. Abandonment of elite squad in protest over slaughter of innocents. Scientists unable to control indestructible killing machine of their own creation. Outdated but lovable government 'secret weapon' kills off better designed but heartless successor. Hero strolls away from wreck and casually lights a trail of gasoline behind him. After everyone has given up, flatlined heart monitor picks up a pulse. Evil mastermind explains plans to hero he no longer sees as a threat. Hero refuses to kill defeated foe because he's "better than that". Transparent comic relief character makes hilarious understatements and offbeat comments. Cheerful psychopath revels in random murderous rampages. Nigh indestructible Goliaths hurl one another through a series of walls and other physical traumas that would kill a mere mortal. Man dispatches dozens of gun wielding enemies with nothing but skillful swordplay. Common sense and the laws of physics, biology and chemistry temporarily abandoned. Antagonist using loved one's murder as justification for misguided crusade.<br /><br />I could go on but this is just exhausting. If you're over the age of twelve and not living in mom's basement, there's probably nothing here for you. Depressingly enough, it's not too far off of par for superhero movies so discount all I've written if you can't get enough of the genre.
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This movie is good for TV. I like it because I'm a HUGE fan of disaster films even though this is a family film. Accuracy on the film from the book is half-and-half They got the characters names right but in the book there was no storm chaser, the the car scene involving the Hatch family running away from the tornado wasn't in the book instead it involved Dan hatch and his friend riding with a police officer on their way to the police station for safety. and in the book Dan and his friend are both 12-years old. Thats all i can think of. Overall this was a good movie even though it could of have been a little more accurate to the book. Did you know the book was based on a true story of a series of tornadoes devastating a small Nebraska town in 1980?
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PROM NIGHT (2008)<br /><br />directed by: Nelson McCormick<br /><br />starring: Brittany Snow, Scott Porter, Jessica Stroup, and Dana Davis<br /><br />plot: Three years ago, Donna (Brittany Snow) witnessed the death of her entire family at the hands of her teacher (Jonathan Schaech) who has a bit of a crush on her. Now, she is preparing for her senior prom with her stupid annoying friends. Once there, they start dying one by one because the killer escaped from prison and no one bothered to warn Donna because apparently her prom is too important to interrupt. <br /><br />pros: I got a few good laughs out of the film due to the terrible dialog and the dumb character moves.<br /><br />An example:<br /><br />Everyone decides not to tell Donna that the man who is oddly obsessed with her (she doesn't seem that great) has escaped from prison. Their reason: They don't want to embarrass her in front of all her friends. LOL<br /><br />cons: Let me start off by saying I'm a huge slasher fan. Usually I can have fun with even the bad ones. I even like some PG-13 horror films. TOURIST TRAP (1979), one of my favorites, was originally rated PG. I also enjoy POLTERGEIST (1982) and THE GRUDGE (2004). So the fact that this is a dumb slasher film that is rated PG-13 does not have anything to do with me not enjoying the movie.<br /><br />First of all, I had a big problem with the story. I like slasher films that don't even have stories. At least they can be entertaining. This is about a teacher who falls in love with his student, so he kills her entire family. A few years later, he tries to make it up to her by ruining her prom and killing all of her friends ...? Then there were subplots that I doubt anyone cared about. Claire (Jessica Stroup) is fighting with her boyfriend, she has cramps, and I couldn't care less. This should have been a Lifetime feature, not a remake of PROM NIGHT. <br /><br />And then ... this is a slasher film with terrible death scenes. I don't even care that it's not that gory, some of my favorite slashers (HALLOWEEN, CURTAINS, the original PROM NIGHT) were not that gory but they still had effective murders. Here, we have half the characters dying in the same hotel room off screen, a woman being stabbed several times with no stab wounds, and a closeup on a bad actor's face as he screams in agony. I'm sure that 10 year-old girls were terrified, but not me.<br /><br />I also hated the characters. There was Donna's unrealistically sensitive boyfriend Bobby (Scott Porter) and I can almost guarantee you will never meet a boyfriend that sensitive in your life, unless you are a gay male. Then we had Donna's annoying friends Claire (Stroup) and Lisa (Dana Davis), and the token mean girl Chrissy (Brianne Davis). If you thought the characters in DEATH PROOF were annoying, try watching this movie. And don't get me started on Ronnie (Collins Pennie) and the DJ (Jay Phillips) who gave me flashbacks to Usher's performance in SHE'S ALL THAT.<br /><br />Add to all that predictable plot turns, a terrible soundtrack and a big lack of respect to the original material, and you have quite a stinker.
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| 750
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This movie is the best film ever. I can't remember the last time a movie has drawn tears out of me. with a tear in my eye, I admire this movie. It has all the elements that a good movie must have: Excellent Dialogues, Music, Acting, Story/Plot. A story of friendship, courage, kindliness and loyalty between a Street performing who famous to The King of Masks and a little girl that sold as a boy in serf bazaar. Little girl liked to be his granddaughter and King of Masks liked a grandson. They were not conventional in real. Every scene they were together was priceless. The camera work is flawless and grips you. The acting is inspired. Xu Zhu was Excellent as The King of Masks. Renying Zhou "Doggie" looks pretty and played her character very well. Zhigang Zhao as Liang Sao Lang was great. He played his helpful and kindhearted character extremely well. If you have't this movie, try it once, Do watch it.
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Sickening exploitation trash plays like a bad (and reverse) "Death Wish" ripoff - but the ugly and untalented Tamerlis makes Charles Bronson look like Al Pacino with her performance. As for Ferrara's "stylish" direction, when a film is so vile, dumb and deeply offensive, it's hard for the viewer to pay attention to such details.
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What can I say? An excellent end to an excellent series! It never quite got the exposure it deserved in Asia, but by far, the best cop show with the best writing and the best cast on televison. EVER! The end of a great era. Sorry to see you go...
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What can I say about Cruel intentions 2? Well, I can say in all honesty, I will only watch this film again if I am fastened to a chair and have my eyes opened clockwork-orange-style.<br /><br />The film 'stars' Robin Dunne (No, I never heard of him either), whose awful impression of Ryan Phillipe made me cringe throughout. In a case of terrible casting, Dunne attempts (and fails) to carry off playing a handsome charismatic, charmer. Since the actor is not handsome, nor charismatic nor charming, the character is left wholly unbelievable. Amy Adams, (she was in an episode of buffy one time), tries to pick up where Sarah Michelle Gellar left off and bring scheming Katherine to life... However, Adams is not that good a an actress and her performance was flat and lacking in any real emotion, often she looked like she was reading cue cards just off camera. There were two good actors in the film however, Barry Flatman (Saw 2 & Saw 3) and Mimi Rogers (Mrs Kensington in Austion Powers), made very good and entertaining performances as the parents of Sebastian and Katherine and are the only reason why I rated the film as a 2, not a 1.<br /><br />The film itself is a poor version of the original, with such lows as carbon copy's of dialogue and mimicked scenes which lacked the originality of the previous film.<br /><br />I think that as a TV show, it might have worked, but if it had been recasted with people who could actually act in the main parts.
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First of all, in defense of JOAN FONTAINE, it must be said that Ginger Rogers would have been terribly miscast as Alyce, the young British lady who has the title role. Fontaine makes a fetching picture as the heroine here, but her acting inexperience shows badly and her dancing is better left unmentioned. Fortunately, she went on to better things.<br /><br />But here it's FRED ASTAIRE, GEORGE BURNS and GRACIE ALLEN who get the top billing--and they are excellent. Fans of Burns & Allen will be surprised at how easily they fit into Astaire's dance routines. Especially interesting is the big fun house routine that won choreographer Hermes Pans an Oscar. They join Astaire in what has to be the film's most inventive highlight.<br /><br />Unfortunately, not much can be said for the slow pacing of the story--nor some of the stale situations which call for a lot of patience from the viewer. It must be said that some of the humor falls flat and the usual romantic misunderstandings that occur in any Fred Astaire film of this period are given conventional treatment. Only the musical interludes give the story the lift it needs.<br /><br />Some pleasant Gershwin tunes pop up once in awhile but not all of them get the treatment they deserve. The nice supporting cast includes Reginald Gardiner, at his best in a polished comic performance as a conniving servant, Constance Collier and Montagu Love (as Joan's father mistaken as a gardener by Astaire).<br /><br />It's a lighthearted romp whenever Burns & Allen are around to remind us how funny they were in their radio and television days. Both of them are surprisingly adept in keeping up with Astaire's footwork.<br /><br />Director George Stevens makes sure that Joan Fontaine's hillside dance number with Fred is filmed at a discreet distance but clever camera-work cannot disguise the fact that she is out of her element as Astaire's dance partner, something she seems painfully aware of.
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No, *Hitch* is decidedly NOT a romantic-comedy about bilious (and bibulous) former-Leftist-pundit-turned-reactionary-pundit Christopher Hitchens, though it sure would've made for a funnier movie. A dumpy little Englishman, teeth stained black from cigarettes and Guinness, barking out advice -- and acerbic political commentary -- to lovelorn men: "Look into her EYES when you speak to her, you nutter! And remember: calling someone a 'neo-conservative' makes you a de facto anti-Semite! Can't you get anything straight, you liberal pantywaist?"<br /><br />Oh well. Instead, we get Will Smith, whose continuing success remains a mystery to me, at least. I am apparently alone in this regard. Smith is the most powerful man in Hollywood as of this writing: Americans just can't help throwing their money at him. I, on the other hand, find his smugness insufferable, unmitigated by a scene here (spoiled by the trailer) where he suffers a drastic allergic reaction to seafood. We know Smith will bounce back to his bland, over-muscled good looks, because there's a fat sit-com actor (Kevin James) on hand making a fool of himself. We're supposed to laugh hysterically whenever the slob starts dancing like a jackass (cue "Everybody Dance Now!" by CC Music Factory), but why would a straight-arrow accountant behave in such a way? I've worked with several straight-arrow accountants for years, and I can tell you that if, in Norman Mailer's memorable phrase, "tough guys don't dance", neither do straight-arrow accountants. Am I taking all this too seriously? Or -- and here's a daring thought -- perhaps the writers couldn't conceive a logically-drawn character to save their lives?<br /><br />Speaking of the writers, they come up with a lousy idea for Smith's love interest: a writer for a tabloid (Eva Mendes). Since when do tabloid creeps deserve love? What universe am I in, anyway? -- everyone here at IMDb is actually gushing over this tripe. Either you all need to raise the bar, in terms of entertainment value for your buck, or I'm just a skunk at the garden party. (Me, and about 150 million other long-suffering boyfriends and husbands.) In any case, if I may imitate Smith's Hitch and offer my male readers some smooth advice: when you're dragged to see *Hitch*, say to your Better Half, "Hey, that was pretty good" after the movie is over. Don't be overenthusiastic; don't rave about it -- she'll know you're lying to her. Praise it in a lightly surprised way, as if the movie was better than you expected and wasn't the agonizing time-waster that it actually was. But what am I saying, eh, fellas? -- we dudes know all the moves. <br /><br />1 star out of 10.
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I had never read Gary Paulsen's novel, Hatchet, for which 'A Cry in the Wild' is the adaptation of, so I can't make any comparisons to the book. I will, however, say that as a film on its own, adaptation or no adaptation, it was an underdeveloped adventure that provides no major explanation of its few characters.<br /><br />Think of 'A Cry in the Wild' as a less luxurious, teenage mountaineer (was Quincy, California the only place this was filmed?) version of 'Cast Away.' Jared Rushton is 13-year-old Brian Roebson, a kid headed on a small plane to visit his father, until the craft crashes over some deserted mountain terrain, leaving the kid stranded for quite a while and having to defend himself.<br /><br />There are basically three parts to the film. The obvious being the ten or fifteen minute introduction of the characters, namely Brian and his mom. <br /><br />The next third of the movie (which really consumes nearly all of the film) is that of Brian "roughing it." These scenes contain no particularly amazing action, nothing spectacular other than lots of beautiful cinematography of a beautiful Yukon landscape. Nothing to put you on edge, no real encounters (except a brisk confrontation with a cub), and no major dilemmas to initiate some sort of enjoyment or connection with the character on the screen. You might even feel briefly bored with the passage of time as we witness Brian dealing with his situation through first, primitive means, and then more improved ones (using tools, etc) for his survival. It is more like the ordinary time that passes if you were actually stuck in the situation, and that is pretty much about it. In other words, they put no meat on the Paulsen's words when they translated them into a visual media.<br /><br />And, of course, the third part of the movie is his rescue.<br /><br />There is a subplot that continuously seeks to make itself known during this time, however. Some conflict between Brian and his parents that created a rocky, awkward relationship between them. However, for the most part, it is only explained in brief, intermittent, minimal dialog flashbacks that look more like a back story for a music video. Any minute, the singer from Jefferson Starship, should chime in an start singing 'Sara.' Other than what the viewer can draw from the implications, or guess for his own need to fill the gaps in the narrative, we get a very underdeveloped back story which was probably necessary to enjoy at least part of this film and create a connection to the characters, whether or not it really had anything to do with Brian's survival adventure in the third part of the movie. These are the flaws in the narrative that through the viewer into a stupor as he struggles to find out what the heck those people there on the screen are doing and, for me, almost done to the point of screaming at the television to say something and tell me more! <br /><br />It certainly was not, for me, a good adventure tale. But, for fans of Jared Rushton, it was one of the last few movies he made. So, watch it purely for nostalgia, if nothing else.
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How this movie escaped the wrath of MST3K I'll never know. "Gymkata" is a ridiculous action movie, filled (or is that empty?) with paper-thin plots, dumb characters, and preposterous situations. But take it from me, if you enjoy watching poor, yet goofy, movies, you will enjoy "Gymkata" a great deal.<br /><br />The action centers around a gymnast who is chosen by government agents (at least I think they were government agents) to become a spy. You see his dad was another quasi-government agent, who has gone missing competing in this game, called, eloquently, "The Game." So the gymnast (played blandly by Kurt Thomas) trains to compete in this game and find out what happened to his lost dad.<br /><br />Sounds promising doesn't it? Okay, so it doesn't but still, that bare bones plot sypnopsis doesn't begin to describe the joys of this movie. They can be found in the movie's strange details. Like the gymnast's mysterious Asian girlfriend, who doesn't speak for the first half hour of the movie, then all of a sudden begins to talk, and doesn't shut up for the rest of the time! Or the really tough shirtless bad guy who likes to make and break "The Game"'s non-existent rules whenever he so pleases. And of course there's our hero's delightful romp through the "Village of The Crazies" (Evidently that's the place's real name!). Nice place to visit, but I wouldn't want to live there.<br /><br />But where this movie really shines is the action scenes. Since our protagonist is a gymnast, the director thought it wise to stick gymnastic equipment into the back alleys and town squares of Middle Eastern cities, so that our Gymkata master would be better able to use his gymnast skills to fight the scourge of evil on parallel bars and pummel horses. It has to be seen to be believed.<br /><br />One interesting thing of note. A lot, I'd say about half the cast, dies from being shot with an arrow. Interesting because the arrows are the only believable effects or action in the entire movie. If these were indeed effects, my one major note of compliment to whoever devised these very realistic arrows wounds. More likely, this was the film's way of not paying extras. Nevertheless, "Gymkata" deserves a look if you can see it without paying and are looking for some silliness that is an easy target for riffing.<br /><br />
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The year 1995, when so many people talked about the great premiere of BRAVEHEART by Mel Gibson, also saw another very fine, yet underrated movie on Scottish history, ROB ROY. Although it is a very different film, especially due to the historical period the story is set in, ROB ROY has much in common not only with marvelous BRAVEHEART but also with the very spirit of epic movies.<br /><br />It is a film that discusses similar themes, like fight for dignity, courage, honor, revenge, family being a key to happiness. It also leads us to the very bliss of Scottish highlands where the human soul finds its rest being surrounded by all grandeur of nature. Robert Roy MacGregor (Liam Neeson), the main character is a true hero (so universal in epics), sort of "Scottish Robin Hood" who struggles to lead his people out of oppression imposed by cold hearted lords. Although he worsens his situation through the acts, has to suffer a lot, two things stay in his mind undeniably: HONOR that he is given by himself and LOVE to his woman, Mary MacGregor (Jessica Lange). That leads him to unexpected events...<br /><br />Except for the interesting content and quite vivid action, the movie is filled with truly stunning visuals. This factor has to do both with the sets and locations of the film as well as the wardrobe. Many memorable moments stay in the mind of any viewer who can allow themselves an insight into artistic images. For me, the most splendid scene was in the Highlands when Rob Roy tells his boys what honor really means. Then, he sends them away and beautifully makes love to his woman. The scene he escapes Marguis of Montrose (John Hurt) to the waterfall is also worth a look as a stunning visual. <br /><br />Of course, there is some graphic violence, like in the duel for instance, but I don't think that this violence would be as harmful as in many other modern films. Its justification is like any other epic's: bloodshed and cruelty of those times were really serious and there would be no point in hiding it. The most disturbing scene, for me, was the rape done on Rob Roy's wife by the villain of the story: Archibald Cunningham (Tim Roth). It's truly disgusting and kids should definitely stay away. However, all the rest is O.K. Yet, there is one aspect that made me really love this movie, the performances.<br /><br />All the cast do perfect jobs, from the leading Lian Neeson who fits very well to the role of tall, brave, strong Scottish man to the supporting cast of Brian Cox who portrays wicked Killearn, a silent witness of terrible acts who feels comfortable with the evil of war. Jessica Lange is very fine as Mary MacGregor and has some of the most beautiful moments in the film. There is chemistry between Ms Lange and Mr Neeson in many of their scenes. John Hurt, one of the best British actors, does a terrific job as Marguis of Montrose, a corrupted man for whom money is the aim in itself achieved by any means. I like that calmness of his portrayal. But the real villain is played by Tim Roth who truly depicts wretched side of his character, Archibald - a man who mocks love, who loves war and who finds true lust in rape and slaughter. But, like in any good epic, this exceptional evil must find its end...<br /><br />And one more aspect: the musical score: such memorable and sentimental tunes that are bound to sound in the ears for long. The final moment touched me to tears not only because of the beauty it conveys but because I deeply combined these blissful tunes with the grandeur of locations. Scotland remains in the heart of its visitor and this movie reminded me of that permanent effect. It was, as if, my second journey to Scotland.<br /><br />ROB ROY is a very nice movie, very well directed, photographed and acted. It perhaps does not equal BRAVEHEART with its spectacular sets and crowds of extras in battle scenes, but it is a fairly long film with much attention placed on one very significant feature a cinema should have: stunning entertainment combined with heartfelt education. I really enjoyed that film, do not hesitate to call it metaphorically "highlands of entertainment" and rate it 9/10
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Aileen Gonsalves, my girlfriend, is in this film playing a secretary at the main character's bank. She has a lovely scene with Roshan Seth in a restaurant. There's more information on her website at >Having stated my personal interest in the film, I have to say that I think it is a beautiful movie - moving, funny and beautifully filmed.
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I know John Singleton's a smart guy 'coz he made Boyz N The Hood, so how did he write and direct this? It's like the pilot of a bad "going away to college for the first time" teen soap, a parade of boring stereotypes and cliches with some gratuitous violence thrown in to make it a commercial proposition, I guess. Who would've guessed the date-rape victim would dump sausage for seafood? The angry loner would be preyed upon by a group of Neo-Nazis (and would be roomed-up with a black AND a Jew - just for laughs!) Even Laurence Fishburne's creepy reactionary history Professor just irritated me and I love the guy, it's like everyone involved with this movie just lost the plot. Except Busta Rhymes, of course. Big ups.
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As much as I like big epic pictures - I'll spare you the namedropping - it's great to kick back with a few beers and a simple action flick sometimes. Films where the plot takes a backseat to the set-pieces. Films where the dialogue isn't so cleverly written that it ties itself in endless knots of purple prose. There are HUNDREDS of films that fit the bill... but in my opinion Gone In Sixty Seconds is one of the better ones.<br /><br />It's an update of the movie that shares its name. It also shares that picture's ethos, but not quite it's execution. Whatever was great about the original has been streamlined. Whatever was streamlined was also amped up thanks to a bigger budget. Often these kinds of endeavours are recipes for complete disaster - see the pug-ugly remake of The Italian Job for one that blew it - but here, thanks to a cast of mostly excellent actors, Sixty succeeds.<br /><br />The plot and much of the dialogue isn't much to write IMDb about. Often you'll have scenes where the same line of dialogue goes back and forth between the actors, each of whom will voice it with different inflections. A lot of people found this annoying; I find it raises a smile. Each actor gets a chance to show off his or her definition of style here, with Cage, Jolie and Duvall leading the pack of course (and it should be noted that it's also amusing to see Mrs Pitt not given first billing here). The chemistry between good ol' Saint Nick the stalwart (see date of review) and Angelina leads to a couple of nice moments.<br /><br />The villain is not even a little scary - I've seen Chris Eccleston play tough-guy roles before so I know he can handle them, but I think he was deliberately directed to make his role inconsequential as not to distract from the action. We know the heroes are going to succeed, somehow; we're just sitting in the car with them, enjoying the ride. I think a lot of these scenes were played with tongue so far in-cheek that it went over the heads of a lot of people giving this a poor rating. In fact, I wouldn't have minded some fourth-wall breaking winks at the camera: it's just that kind of movie.<br /><br />All this style and not so much substance - something that often exhausts my patience if not executed *just* so - would be worthless if the action wasn't there. And for the most part, it is. Wonderfully so. I've noticed that it seems to be a common trend to be using fast-cut extreme close-up shots to direct action these days. I personally find this kind of thing exhausting. I prefer movies like this where the stunts are impressive enough to not need artificial tension ramping by raping tight shots all the time. I've been told that Cage actually did as many of the car stunts as he could get away with without losing his insurance (in real life I mean - his character clearly doesn't care) and it shows. The man can really move a vehicle and this is put to good use in the slow-burning climatic finale where he drives a Mustang into the ground in the most outlandish - and FUN - way possible.<br /><br />So yes, this movie isn't an "epic, life-affirming post-9/11 picture with obligatory social commentary" effort. The pacing is uneven, some of the scenes could have been cut and not all the actors tow the line. But car movies rarely come better than this. So if you hate cars... why are you even reading these comments?!<br /><br />I'd take it over the numerous iterations of "The Flaccid And The Tedious" (guess the franchise) any day. 7/10
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I have to hand it to the creative team behind these "American Pie" movies. "Direct To DVD" typically is synonymous with cheap, incompetent film-making. Yet last year I was pleasantly surprised when I found myself thoroughly enjoying the DVD sequel "The Naked Mile". The filmmakers took advantage of the opportunity to deliver a raunchy, yet funny little film. This year they offer up the followup, "Beta House". This is the honest truth, "Beta House" makes the first few "American Pie" movies look like "The Little Mermaid".<br /><br />This is no holds barred, tasteless, laugh-out loud fun. Sure, the story is a bit thin, but that's the beauty of the whole thing. Within the first 10 minutes we're introduced to the all the main characters, the new supporting characters, get a handful of raunchy gags, meet the villains, and establish the general plot-line. With all that out of the way, the movie becomes a no-limits ride. The gags are a plenty, and they DID NOT hold back in this one. I'm talking male semen, urine, dildos, chicks-with-dicks, sex with sheep, female orgazim sprays, and plenty more. Not to mention the fact that not a minute goes by without boobs or a sex scene.<br /><br />Returning from "The Naked Mile" are John White, Jake Siegel, Steve Talley, and Eugene Levy (in a similar supporting role as the last few films). The entire cast does fine work. Steve Talley (Dwight Stifler), in particular, has a great energy and screen presence. I predict good things for him. The film is also loaded with great movie references for those who keep their eyes open. By far the biggest laugh of the film for me was "The Deerhunter" parody. Classic.<br /><br />The bottom line is, if you're a fan of the series, you'll feel right at home with "Beta House". It really pushes the limits of good taste, but in the end is pretty damn funny.
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Can it ever be said that there are some movies that have no redeeming features whatsoever? Answer: Yes, and this is one of them. After helming the appalling 'House of the Dead' director Uwe Boll has now cast his less-than-talented eye towards yet another video game adaptation. Don't these guys get it? To anyone who can't understand, here it is in block capitals for you: VIDEO GAMES DO NOT MAKE FOR GOOD MOVIES! The acting here is, at best, sub-standard. The set design and special effects are poor. Unlike the video game (which did have its scary moments) the movie has no atmosphere of impending doom, no sense of danger or menace. Pacing and plotting is confused and the paper that the script is printed on would have been better used as toilet paper. The main culprit is the director. Uwe Boll uses the camera with the grace and skill of a monkey using a paintbrush. Hackneyed zooms, swoops and pans are spliced into the whole dreary affair at unpredictable moments leaving the audience disorientated and bored. Why this guy was ever let near a movie set in the first place must stand as one of modern cinemas greatest secrets. Avoid at all costs.
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I know it's crude, and I know that it isn't at all PC, but it's so funny. If you can put it into perspective that it's from the early 80's and it carries all the stereotypes of the time--and the movie still makes you almost pass out with laughter--than it is truly a good comedy. Going with the tradition of what comedies have been for thousands of years, the subject matter of this film is exagerated. If you can suspend your political correctness for an hour and a half, just to have an all-out laugh, than please watch this.<br /><br />P.S. Would someone please put this out on DVD, it's so hard to find on VHS anymore.
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This is an apocalyptic vision of the hell of our contemporary world. The social criticism of our shallow, commercially oriented values is what makes this film an exceptional vision of the "war is hell" cliché, underscored by a mythical journey upriver to Cambodia by a special forces captain whose mission is to eliminate (with extreme prejudice) a rogue colonel, who's left behind the army's concepts of justice to create his own world. When I saw Apocalypse Now in 1980, I thought it was a deeply flawed masterpiece. In particular, I found the final segment of the journey with Brando, which encapsulates Conrad's Heart of Darkness, to be rather boring. I finally got around to seeing Apocalypse Now Redux and the flaws have been taken care of. Redux makes the movie an outright masterpiece, certainly among the top 100 films ever made. Brando's performance now seems full and complete, perhaps rather less mysterious, but much more profound. Martin Sheen is brilliant at the heart of one of the best acting ensembles ever assembled. It's great to spot a young Harrison Ford, Scott Glenn, etc. in early screen performances that suggest what fine actors they will eventually be recognized as. The work of Robert Duvall, Fred Forrest, Lawrence Fishburne and Sam Bottoms is greatly enhanced by the additional footage. If you've never seen this film, skip the original and head straight for Redux. I wish we could get a Gangs of New York Redux from Scorcese to fill in all the gaps in that deeply flawed potential masterpiece.
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I have seen this movie last week during the Berlin Film Festival and had medium-high expectations. - The director is Bertrand Tavernier and I was familiar with some of his previous work in French cinema. I actually enjoyed some of his earlier movies. -The cast: Tommy Lee Jones, John Goodman, Peter Sarsgard, Mary Steenburgen... I was looking forward to see all this talent on screen. -I wasn't familiar with the book it's based upon and I hadn't read anything about the movie beforehand but I was told that it was an investigation movie set in the Deep South (we've seen a lot of those in the past, maybe this one's gonna be as good as the others...)<br /><br />2 hours later, the end titles appear: THANK GOD IT WAS OVER!!!! - The plot is beyond comprehension. If you've read the book, you have a significant advantage. There were too many minor characters and there were a lot of useless plot arcs. We didn't understand a thing! - The accents. My God! Tommy Lee Jones' accent is decent but I still have nightmares from Mary Steenburgen's Cajun-French singing... - Poor casting in my opinion. I can't believe old man Tommy Lee Jones can beat the crap out of a linebacker-built goon... And I'm not afraid of John Goodman. - Who were these people?!? We barely understand who all these characters are and what they do. There's a bait shop? Tommy Lee Jones has a girl from Guatemala? Blörg! - The comedic attempts were pathetic. The funniest thing about the movie was probably its "action" and "suspense" scenes. They were horrible. No thrills. Bad acting (Can Tommy Lee Jones make different faces or is he like Derek Zoolander?)... - And then there's the sci-fi stuff. No spoilers but it gets ridiculously and annoyingly weird.<br /><br />I usually don't write any comments on IMDb but I thought the movie was so bad and disappointing that I felt compelled to share my opinion. But that's just me...
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Of the spate of Austen films from the 1990s, this is my favorite, more even than "Persuasion," which was the one that converted me to Austeniana. Before seeing this "Emma" I had seen two previous versions, but in one Emma seemed all wrong, more like Lady Teazle, and in the other she seemed half wrong, like a possible impostor, whereas here she seemed just right, young and silly and stubborn. In general I thought the attitude and the atmosphere of the production conveyed the charm of the novel exceedingly well; indeed it is one of the sweetest, merriest things I have ever seen, rather in the nature of a Christmas treat. The script is unusually well formed, and the adapter's additions, like the shaft of light that reveals Harriet to Emma in church, are all in keeping. Mark Strong as Knightley is not what I would have expected, but I enjoyed him very much: he strongly brings out the plain-spoken, practical side of the character, in contrast with Emma's affectations, and his choleric outbursts against Frank Churchill are quite funny. Bernard Hepton makes Mr. Woodhouse a figure of almost Carrollian absurdity; Samantha Morton as Emma's protégé is exactly as soft and exactly as firm as she ought to be. And as in the same producers' "Pride and Prejudice," care is taken that the eventual couplings of characters can be believed--uniquely in some cases. For me this production was and remains a delight.
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This movie was 100% boring, i swear i almost died from boredom at the theater. It wasnt funny and didnt really hve that much action in it either, it was BORING and i hope whoever out there that liked this movie, god be with you in the future when you find out what this movie was really like and try to jump off a bridge or something like that
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The idea was awesome, the actors were incredible, the story could of been very scary, but the writing was poor and there was no depth. I couldn't really get into this movie. I couldn't feel for the characters, there were a lot of cliffhangers, and the movie just ends very weirdly. Was it a happy ending? I don't know. Was it a sad ending? Again, I don't know. You leave the theater feeling unsatisfied. The movie had so much to give, but couldn't. Just because you can edit, doesn't mean you should, right? I wouldn't really recommend this movie because you just can't say that you left the movie feeling like it was completed. You'll just be confused. Trust me, you will probably thank me if you don't watch this movie.<br /><br />3/10
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Slayer starts in the South American rain forest where Captain Hawk (Casper Van Dien) & his men are attacked by a bunch of Vampires, they barely manage to escape with their lives. Jump forward six months later & Hawk is called to see Colonel Weaver (Lynda Carter) who informs him there has been other reported sightings of Vampires & that his ex-wife & her Goddaughter Dr. Laurie Williams (Jennifer O'Dell) has gone out there on an expedition to study beetles, worried she ask's Hawk to take a squad of soldiers back to South America & officially provide back up to Captain Grieves (Kevin Grevioux) & his men while at the same time unofficially look for Laurie & not get killed by the Vampires who have decided to venture out of the caves & into the civilised World...<br /><br />Edited, written & directed by Kevin VanHook this is yet another poorly made Sci-Fi Channel original which just isn't very good in any respect. The humourless script has nothing going for it as far as I could see, it's one of those modern Vampire films which decides to pick & choose the 'traditional' Vampire film lore rules it wants to use like these Vampires can be killed with stakes through the heart & have fangs but at the same time can freely walk around in sunlight & they don't sleep in coffins. The film moves along at a reasonable pace but it's all very dull, bland & lifeless. The story is poor & just rather stupid, the character's are terrible, the dialogue is forgettable & there's very little here to recommend. Slayer also tries to have some sort of ecological message as the head Vampire claims they are only starting to kill human beings because of their systematic destruction of the rain forest where they have lived in secret for centuries, unfortunately there's no conviction there & is more like a throwaway line to fill the time than a serious statement. There isn't enough exploitation content & is a rather unsatisfying way to spend 90 minutes of your time. The makers don't even do anything with the jungle setting, hell I didn't expect Predator (1987) but I hoped for a bit more than this.<br /><br />Director VanHook has made several horror films all of which I have seen have been equally poor, I'm sorry but he does nothing here & turns in a throughly forgettable looking & feeling film. There's no atmosphere or tension & as for genuine scares forget about it. The gore is restrained, there are some bitten necks & a bit of spraying blood but it's nothing we haven't seen before or has much impact. There's also a huge Vampire monster creature at the end but it doesn't look that impressive & it gets itself killed far too easily.<br /><br />With a supposed budget of about $2,000,000 this actually had a decent sized amount of money spent on it but it's still a rubbish film, it's reasonably well made but nothing special or memorable. The acting sucks, I'm sorry but that's the way I saw it.<br /><br />Slayer is yet another poor, stupid & boring made-for-TV Sci-Fi Channel rubbish that I simply can't recommend. Not to be confused with the rather fine one time British 'Video Nasty' gore film The Slayer (1982) which is 100 times better than this so track that down & watch that instead.
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This is a nice movie with good performances by Paz Vega and Leonardo Sbaraglia . Of course Vicente Aranda is a legend in Spanish Cinema and surely one of the great directors in Spanish cinema but I don't think this is one of his greatest movies even if it's fine. The screenplay plays with the introduction of Merimeé as a character , it's a nice touch but it's unbelievable. The music is composed by Jose Nieto , National Spanish Prize in Cinema. I mean this movie is very good in all the technical aspects .There are very good actors in supporting roles like Antonio Dechent , Maria Botto and others . I give it 7 out of 10 cause I think this could be a better movie but as it is it is not boring at all.
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Perhaps being a former Moscovite myself and having an elastic sense of humor prevents me from tossing this movie into the 'arthouse/festival crap' trashcan. It's not the greatest film of 2005, nor is it complete garbage. It just has a lot of problems. I also sincerely doubt this movie was banned due to any 'ideological fears', or 'conservative taboos' or any other reason this movie might conversely be called 'courageous' and 'uncompromising' abroad. It was banned because the censors knew 99% of the Russian film-goers would find it offensive because of the bad taste exercised during the shooting and editing of this otherwise dull film.<br /><br />So we have a strong opening shot. Wonderful sound design, excellent premise - laden with meaning and symbolism. The usage and placement of symbols will consistently be of the film's strongest aspects (not that the number 4 is a daunting visual challenge). Over the next 40 minutes we have an equally strong setup. An amusing and well-written bar conversation among the 3 (main?) characters, and we feel pathos for these people, the great country of Russia, the human condition and all that. Then the movie starts slowing down. We begin to wonder what -yawn- lies ahead.<br /><br />The rest is quite boring, simply put. Sure, the guy in the village tugs the heartstrings, and there are some slightly amusing moments. Nice sound, sure. But the enjoyment of this movie, not to mention the plot, are seriously compromised by the pacing problems. And this, this lack of a payoff for sitting through all the (nicely-shot) abject misery and bleakness, is what ultimately will make people angry at the 'offensive' stuff (personally, the main offensive scene bordered on being endearing, in that pathetic way harmless drunks can appear).<br /><br />If you want to watch an enjoyable movie where Russians get wasted for prolonged periods of time (the entire film), watch Particulars of the National Hunt. Much more rewarding post-Soviet stuff. So yeah, a 4 out of 10 for 4, nice and symbolic of my post-mediocre-film condition.
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First of all, Jenna Jameson is the best actress in this movie, and she's just awful. This movie has every horror move cliché in imagination, and all badly played. The over-sexed teen couple. The comical(not)horny jock. The snotty cool chick. The creepy local color guy. The parental-type couple. The virginal chick who amazingly never dies in these films. The dialogue is so painfully awful and delivered with the depth of a wading pool. It's almost like you're wishing that they'd all die sooner. I saw the rough cut of this film a while ago, but somehow, this just got worse. Sure, the funniest thing in here is the ghoul trying to eat Jameson's implants, but that hardly rates even a rental of this dog. Avoid at all costs.
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This is a charming movie starring everyone's favorite cartoon chipmunks. In this feature we follow the band of rodents on an unforgettable balloon race around the world. Although there are lows, including an orphan penguin, all in all it's a great family film.
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I wish Depardieu had been able to finish his book and see it become a dazzling success. At least he'd have wound up with something.<br /><br />The film struck me as pointless, rambling, and very stylish, like some other recent French films. Not to knock it. Most recent American films are pointless and rambling and have no style whatever. We should be grateful, I suppose, for photography that evokes a European city in the midst of a wind-blown Continental winter, and for elliptical conversations that challenge our ability to understand what's up.<br /><br />But there can be too much of a good thing. Golubeva is found stumbling around near the sea in the middle of the freezing night, carrying on in a bad accent about dreams and such. (There are a few sequences of dreams that include things like swimming in a river of blood. You'll love it if you're Vlad the Impaler.) Lots of people die. Catherine Deneuve dies in a suicide by motorcycle. I don't know why. Golubeva's young girl dies too, and I don't know why she dies either. She gets slapped in the face, falls to the pavement, and dies.<br /><br />There is supposedly an explicit sex scene too. I'll have to take their word for it because, although it is stylishly photographed, it is stylishly photographed in almost complete darkness. Don't worry about the kiddies being shocked. They'll probably be asleep by this time anyway.<br /><br />Depardieu isn't a bad actor. As we see him deteriorate from a carefully groomed handsome young man -- well, handsome except that his nose can't seem to get out of his way -- to a limping, murderous, hairy physical wreck, we feel sorry for the guy. Golubeva has a wan pretty face, with enormous half-lidded eyes and wide cheeks, like a doll. Her next movie should be a remake of Lewton's "I Walked With a Zombie." Then there is this mysterious guy who leads a band. I guess it's a band. As far as I could make out, the band is made up of about a dozen drummers and a dozen musicians playing electric guitars. Every viewer will find the resultant sound interesting but uncultivated listeners fond of "easy listening" might not enjoy it. If you don't like the music, there's a payoff involved because the sinister composer and leader gets whacked over the head with Depardieu's walking stick.<br /><br />I must say, I found it barely worth sitting through. (And it's a longie, too.) At times it was like waiting in your car at a railroad crossing while a long long freight train rumbles slowly by, sometimes stopping entirely. I wish it had had a few jokes.
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I saw 2 hour version of Choker Bali. I cannot say that is long. The movie has a certain natural pace to it and does not seem to lag at any time. The costume and the set are reminiscent of what we would see in old movies.<br /><br />Aishwarya Rai has done a good job of acting. It is indeed a mature role with enough scope for acting within the story. The script also supports the story very well. Aishwarys acts as the unfortunate widow whose husband dies in the first year of marriage. The movie is about the passions and desires of such a character and the conflict she faces with the downtrodden condition of widows in those times.<br /><br />Her best friend in this movie is played by Raima Sen has also been well-handled. Her innocence and her admiration of Aishwarya's capability to speak English and act educated has been done very well. These are indeed some of the prevailing mindsets of those times. We can see how far we have come from such an era! <br /><br />The movie speaks of womens liberation as subtle line of the story. I found the development of the story very similar to Ghare Bahire also written by Tagore. It does rope in some action from the independence struggle and puts in contrast the struggle for Indian Independence against the silent struggle for womens rights.<br /><br />A well made movie definitely worth watching. Aishwarya's acting: par excellence. Rituparna has handled the story with great care. Yet another classic from Rabindranath Tagore.
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Brilliant film! I am sorry to say that it resembles to me a bit like Pulp F. but thats how it is with post pulp era. Many pictures get automatically likened to it for only being a gangster flick. But this one is well written, funny coincidences, ordinary gangsters who are family men, resemble something from Tarantino, which is a good similarity!<br /><br />Anyway the film's about a guy bloke in Australia which is getting mixed up with a hard- core crime gang, and ends up in a debt and deep s*it. To his assistance is his deceased brother (anyone remember Val Kilmer in True R.?) to pay of his debt and escape from the gangsters who are on his trail. The gangsters are cold blooded, but take the time to play chess and focus on the upbringing of their children! They also get served tea from their granny while planning a bank robbery and have trouble what to do with their kids during the robbery. So a humorous gangster flick with Heath Ledger in good form (though I'm not a fan) , and Bryan Brown in great action as a gang leader.
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as i said in the other comment this is one of the best teen movies of all time,and one of my personal favorites. to me this movie is the second best teen movie of all time. second only to the breakfast club. the last american virgin is also maybe the most honest teen movie of all time. it's underrated,and pretty much an unknown movie to a lot of people. it comes on TBS maybe once a year,but sometimes longer. the first half of this movie is a sex comedy with a few honest scenes. then the second half is pure honest,and most of the time serious. with only a few comic scenes. in my opinion this is the best soundtrack of all time. i've never heard this many great songs in one movie before. there are 4 love songs in this movie that i think are some of the best love songs in history. the movie is about a pizza boy named gary who is a virgin. hes in high school who has a couple of best friends. his two friends are sex-sarved teens. the first half of the movie is pretty much sexual misadventures. that are very funny. gary is major in love with the new girl in school. he later finds out that his best friend is going out with her. he also cheats on the side. you can feel the love gary has for this girl very much. you can feel it even more in the second half. gary's friend turns out to be a creep. but his other friend is pretty cool. the movie shows how mean people can be. you can relate to a lot of this movie. the plot sounds like your typcial teen sex comedy. but it's so much more than that. it's a very honest movie. it's also very 80ish which i love. if you love the 80's or grew-up in the 80's,rent this movie. but there may be some people that don't like the 80's,but still may like this movie. i first saw this movie back in 1987 i think. it's very entertaining,and very funny. it combines very touching moments with very funny moments. it's an underrated gem! i have the movie. i love it! i give the last american virgin ***1/2 out of ****
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"I haven't laughed this hard since granny got caught in the wringer," says one of the potheads in this hilarious quasi-spoof of all those Val Lewton and George A. Romero walking-dead movies we have come to love (or loath, depending on your personal taste) through the years. <br /><br />In this story, a young actor pair play a ghoulish prank on the rest of their troupe after, one spooky night, they visit a cemetery island. Their artistic director, Alan, pretends to bring the dead back to life by conducting a highly stylized ritual.<br /><br />Way too much screen time is misspent; the amateur dialog includes lame witticisms, melodrama and other kinds of unnecessary filler commentaries (And can't Alan stop that irritating laughter... way too much!). Once the action kicks in (which comes close to the end of this film), it's worth the wait. <br /><br />I saw this one on a late-night, local station television program that ran films very much like this one... only this one scared me at the age of 13... but then again, you might laugh your way through it, until the bitter end... ...which is probably the reason, nowadays, why very few people still wear striped hip-huggers.
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Sometimes it's hard to be a pirate...............but by golly Miss Jean Peters has a lot of fun trying - and it shows,particularly during her first spot of friendly swordplay with Blackbeard (Mr Thomas Gomez - eminently hissable)when the sheer joy of performing is plain on her face. With fifty years of hindsight Feminists seem intent on grabbing this movie as some sort of an anthem for the empowerment of women in a male - dominated society but I have serious doubts that either M.Tourneur or Miss Peters had any such concept in their heads at the time. It was an exciting,entertaining family film with absolutely no pretensions,hidden meanings or alternative agenda.It was fun. M.Louis Jourdan is both winsome and treacherous as her love interest. Mr Herbert Chapman is wise and philosophical as the wise and philosophical doctor.Mr James Robertson Justice is just a tad unbelievable as the bosun. But it is Miss Peters who stays in the memory.Wilfully adolescent,illiterate,tough but vulnerable,wonderfully agile,and ultimately,courageous,she is everybody's idea of a lady pirate. There was a definite window of opportunity for her in feisty costume roles - that she did not choose to seize it is a matter of some regret.
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I will warn you here: I chose to believe those reviewers who said that this wasn't an action film in the usual sense, rather a psychological drama so you should appreciate it on that basis and you will be alright.<br /><br />I am here to tell you that they were wrong. Completely wrong.<br /><br />Well, no, not completely; it is very disappointing if you are looking for an action flick, they were right about that. But it is also very unsatisfying on all other levels as well.<br /><br />Tom Beringer wasn't too bad, I suppose, no worse than usual; but what possessed them to cast Billy Zane in this? Was it some sort of death wish on the part of the producers? A way to made their film a guaranteed flop? In that case, it worked.<br /><br />If they were actually aiming for success, then why not cast somebody who can act? Oh, and might as well go for a screenwriter who knows how to write. Ah, yes, and a director who knows how to direct.<br /><br />As someone who sat through this mess, actually believing it would shortly redeem itself, I can assure you it never did. Pity, it could've been a good film.
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I can agree with other comments that there wasn't an enormous amount of history discussed in the movie but it wasn't a documentary! It was meant to entertain and I think it did a very good job at it.<br /><br />I agree with the black family. The scenes with them seemed out of place. Like all of a sudden it would be thrown in but I did catch on to the story and the connection between the families later on and found it pretty good.<br /><br />Despite it wasn't a re-enactment of the 60s it did bring into the light very big and important landmark periods of the decade. I found it very entertaining and worth my while to watch.
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This movie has no story. It's only about a bunch of guys who tortures an innocent young girl to death.<br /><br />!!!SPOILERS!!!<br /><br />This is what they do: They beat her, put her in a net and let her hang inside like birdfood, spin her around on a chair until she pukes, expose her to loud noise, pour boiling oil on her, put worms in her sores, crush her hand with a sledge-hammer and finally pokes a needle through her eye.<br /><br />This movie was so realistic that if I didn't know it was fake I would have thought it was a snuff-movie. Although I was disgusted by this movie i really liked it. It scared me. I guess it fills some kind of purpose. I give it a 10/10.
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The Matador is better upon reflection because at the time one is watching it, it seems so light. The humor is always medium-gauge, never unfunny but never gut-busting. The story is a very simple thread. The characteristics of the plot are often recycled features, namely the unscrupulous bad guy in need of a pal and the straight-laced glass-wearing good guy in need of security in life team up and learn from each other and somehow complement each other's lifestyles. I also find the bullfighting parallel to the story unnecessary, as it is a simply cruel thing and the symbolism is hardly potent enough to carry itself. However, it really is a good film, because though it seemed so thin and unaffecting at the time, it wasn't. It has a subtle way of connecting with the audience.<br /><br />I believe the reason it slowly but surely gives the audience something to take with them is because though it's a formula that is nothing new, even most of the humor, both main characters, virtually the only characters in it, are somehow met and gotten to know. Forget calling them real. That's not at all what I mean. What I mean is that though Pierce Brosnan's filthy, womanizing, boozing hit man is a detached comical character, he's grasped firmly by the writer and definitely by Brosnan, who is aggressively communicating how much he enjoys his breath of fresh James Bondless air. Greg Kinnear's character seems quite the same in his detached scriptedness, but he's given certain very unexpected footnotes that for a moment due to the film's lightfootedness pass us by but then hit us only a moment later. We then realize the film is not simply Analyze This or Planes, Trains and Automobiles told stalely over again. Its truly saying something.<br /><br />The film's climax is of a sort that wants to partially be a thriller with twists. But with its lightness, how can that possibly be the focus of the film, though the plot has been leading up to it? No, the focus is what Brosnan and Kinnear get out of their unlikely relationship to each other. Strangely, The Matador is a film about regret and loneliness. Brosnan deals with loneliness and regret every day, and though we don't understand why Kinnear is so lenient and accepting with Brosnan continually interrupting his life, it's slowly understood that Brosnan is salvaging Kinnear from a more down-to-earth version of his own feelings as a means of redemption. The very last scene of the movie stays with me. It, I think, is where the film's subtle side-stepping impact finally begins to seep.
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Please see also my comment on Die Nibelungen part 1: Siegfried.<br /><br />The second part of UFA studio's gargantuan production of the Nibelungen saga continues in the stylised, symphonic and emotionally detached manner of its predecessor. However, whereas part one was a passionless portrayal of individual acts of heroism, part two is a chaotic depiction of bloodletting on a grand scale.<br /><br />As in part one, director Fritz Lang maintains a continuous dynamic rhythm, with the pace of the action and the complexity of the shot composition rising and falling smoothly as the tone of each scene demands. These pictures should only be watched with the note-perfect Gottfried Huppertz score, which fortunately is on the Kino DVD. Now, with this focus on mass action, Lang is presented with greater challenges in staging. The action sequences in his earliest features were often badly constructed, but now he simply makes them part of that rhythmic flow, with the level of activity on the screen swelling up like an orchestra.<br /><br />But just as part one made us witness Siegfried's adventures matter-of-factly and without excitement, part two presents warfare as devastating tragedy. In both pictures, there is a deliberate lack of emotional connection with the characters. That's why Lang mostly keeps the camera outside of the action, never allowing us to feel as if we are there (and this is significant because involving the audience is normally a distinction of Lang's work). That's also why the performances are unnaturally theatrical, with the actors lurching around like constipated sleepwalkers.<br /><br />Nevertheless, Kriemhild's revenge does constantly deal with emotions, and is in fact profoundly humanist. The one moment of naturalism is when Atilla holds his baby son for the first time, and Lang actually emphasises the tenderness of this scene by building up to it with the wild, frantic ride of the huns. The point is that Lang never manipulates us into taking sides, and in that respect this version has more in common with the original saga than the Wagner opera. The climactic slaughter is the very antithesis of a rousing battle scene. Why then did Hitler and co. get so teary-eyed over it, a fact which has unfairly tarnished the reputation of these films? Because the unwavering racial ideology of the Nazis made them automatically view the Nibelungs as the good guys, even if they do kill babies and betray their own kin. For Hitler, their downfall would always be a nationalist tragedy, not a human one.<br /><br />But for us non-nazi viewers, what makes this picture enjoyable is its beautiful sense of pageantry and musical rhythm. When you see these fully-developed silent pictures of Lang's, it makes you realise how much he was wasted in Hollywood. Rather than saddling him with low-budget potboilers, they should have put him to work on a few of those sword-and-sandal epics, pictures that do not have to be believable and do not have to move us emotionally, where it's the poetic, operatic tonality that sweeps us along.
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A question for all you girls out there : If a man you`ve never met before accidentally phoned you up on purpose and continued to do so at the most indiscreet moments would you be intrigued by him or so freaked out you`d phone the police ? Yeah that`s what I thought so I couldn`t swallow the idea of Marti Gerrard putting up with the unwarrented attention of Connor Hill<br /><br />***** MILD SPOILERS *****<br /><br />This is a really dumb story . Connor Hill`s wife is murdered and the plot revolves around the question is Connor phoning Marti so he can have an alibi ? But there`s a massive gap in logic here , couldn`t Connor have employed a hit man ? something the prosecution seem to have ignored . And wasn`t there any forensics at the murder scene ? So why does the whole trial rest on Connor phoning Marti at the time of the murder ? Dumb . Dumb . Dumb . And it`s as predictable as it is brainless .<br /><br />My abiding memory of this film is that for someone who made the winter Olympics Marti Gerrard is a really crap downhill skier
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If you are looking for a movie with beautiful shots of Mount Everest, then you may enjoy this movie. Just skip ahead to the views of the mountain.<br /><br />(Spoiler Alert) However, if you, like me, believe that lives are precious and not to be wasted then this movie will leave a bad taste in your mouth. 6 people died, 5 Sherpas and a member of the Japanese party just so that one man could attempt to ski down Mount Everest.<br /><br />The question is raised in the movie about whether the continuation of the expedition to meet his personal goal was still worth the cost in lives, and he answers an emphatic "Yes".<br /><br />The part about skiing is in the last 15 minutes. He skis for a short time, then falls the rest of the way until he comes to a stop in the snow.
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<br /><br />Having read the unemployed critic's, review, I went to a screening of "Radio" not knowing what to expect. Thankfully, the unemployed critic now appears, to me anyway, a frustrated film director/movie critic. His review is callous and totally uncalled for!<br /><br />This is a movie that will make you laugh, it will make you cry and in the end it will give you a moment of pause!<br /><br />To paraphrase a line delivered by Actor Ed Harris in the final Barbershop scene "...and all this time that we thought we were teaching Radio, truth is...He was teaching us. He treats us all the time, like we wish we treated each other, some of the time!"<br /><br />Yes the movie tugs at the heartstrings. Yes it is emotionally manipulative and yes Cuba Gooding Jr. (In an Oscar worthy performance) is a little over the top at times (See the Christmas day dance scene) but you know what? SO WHAT! Every once in awhile the community of America needs to be reminded what tolerance can do for our great country. We need to be reminded how great we CAN be.<br /><br />This is a solid cast. I was particularly pleased to see S. Epatha Merkerson, portraying Radio's mother, do something outside of Law and Order. I always wondered, is Ms. Merkerson a great actor or is it the quality of writing delivered buy a strong cast on Law and Order. After watching this movie, it is easy to see that she is indeed a very fine actor.<br /><br />Also joining the cast in small but important and powerful roles is Alfre Woodard as the Principal, Debra Winger in a career-resurrecting role of Coach Jones's wife and Chris Mulkey as Protagonist, Frank Clay.<br /><br />We cannot over look Ed Harris's performance as Coach Harold Jones. After reflecting on this movie and having grown up in the Deep South my self, It is hard to truly appreciate Mr. Harris and his contribution to this film. As Coach Jones, Ed delivers a quiet, rock solid performance, that of a man on a mission. Coach Harris will not let the town or circumstances divert him from what he knows in his heart, is the right thing to do.<br /><br />If you see this movie, make sure you hang around for the end credits. You will be in for a treat as the real James Robert 'Radio' Kennedy, now in his mid 50's, is shown, still leading the T.L. Hanna Football team on to the field every Friday night.<br /><br />One final note. If you were a teen in the mid to late 70's, this movie is worth the price of admission, for the sound track alone!
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I can't say I was surprised at this atrocity when I watched it a couple months or weeks ago (can't remember). I saw it as a two part episode of Zoey 101, because that's how they showed it here in Canada.<br /><br />I was incredibly annoyed at the Makeover a Nerd thing, it's just an example of how unaccepting, unappreciating, superficial, negative, biased, and stereotypical the people in the entertainment business is and frankly I'm extremely peeved. It wasn't at all funny. A nerd is a stereotype and it makes people very offended.<br /><br />Secondly, the people in Zoey 101 don't have real problems. Logan has a big house, he has a famous dad, he has everything and Zoey is rich too. They never have to deal with the things that today's tweens and teens have to do deal with such as peer pressure, and stereotype problems. Also, the actors are horrific. Jamie Lynn Spears doesn't deserve to be in a television show as successful as Zoey 101 (what is wrong with the world?), she doesn't have any talent as an actor. In fact, she's worse than Britney! The Chase and Zoey thing was incredibly predictable, I mean how could the show go on with Zoey and Chase dating? What other problems could they possibly have? Except for the fact that Chase doesn't get the girl he wants, everything is perfect! The absolute worse 48 minutes of my television watching life. Ever. 0/10 (and that's being generous)
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This was a hit in the South By Southwest (SXSW) Film festival in Austin last year, and features a fine cast headed up by E.R.'s Gloria Reuben, and a scenery-chewing John Glover. Though shot on a small budget in NYC, the film looks and sounds fabulous, and takes us on a behind the scenes whirl through the rehearsal and mounting of what actors call "The Scottish Play," as a reference to the word "Macbeth" is thought to bring on the play's ancient curse. The acting company exhibits all the emotions of the play itself, lust, jealousy, rage, suspicion, and a bit of fun as well. The games begin when an accomplished actor is replaced (in the lead role) by a well-known "pretty face" from the TV soap opera scene in order to draw bigger crowds. The green-eyed monster takes over from there, and the drama unfolds nicely. Fine soundtrack, and good performances all around. The DVD includes director's commentary and some deleted scenes as well.
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This is awful, you just could't believe it. The score is annoying, the filming is bad, for example, sometimes you see the shadow of the cameraman appearing on some actors faces. The quality of the movie is ultra bad, seems like it was made in the 20ies. It's terrible. There is a bit of blood in the beginning and through the movie but always too dark filmed. No gore no effects. The director made some better one like Blood Rites. But out there there is a following of the man, 'cause searching to find this cheap flick isn't that hard but you have to pay hard earned cash for it. Surely this will get in my top ten of worst horrormovies ever, I don't know if I would call it horror. There is too much talking, you will get bloodthirsty after watching it
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Ahem.. I think I'll be the only one who's saying this but yes, I was a lil bored during the film. Not to say that this is a bad movie, in fact it's a very good attempt at portraying the innermost emotions - dilemma, sorrow, love.., esp it's the director's debut (read from somewhere, is it true?). I felt that something's not quite right, maybe it's just me, I'm not drawn to the characters enough to immerse me in their world. This is a simple story, about ordinary people, ordinary lives. Through simple and short dialogs, the director tries to relate a simple guy's life, and how copes with the news of his illness by laughing it away every time. Oh ya his laughter was kinda cute at first but gradually it gets to me, such a deep hearty roar for a gentle man! I must say, I didn't feel the impact that most readers felt, in fact I was more drawn to the trivial scenarios like spitting of watermelon seeds with his sis that clearly shows that they're comfortable with each other, the granny who came back for another shot - this is kinda melancholic, the thoughtful gesture of writing down the procedures for his dad - hmm but this is predictable.. Don't misunderstood that I'm an action-lover, independent films are my cup of tea! Perhaps I just have a really high expectation after watching many deep films that have stronger imagery. Some Asian films worth the watch: <br /><br />Tony Takitani (depicts loneliness) Wayward Cloud (only 1 dialog) My Sassy Girl (I like it!) 4.30 (loneliness as well) 15 (gangsters lives in local setting) Before sunrise and Before sunset (I just have to mention these even though they are not Asian films. Fans will understand!)
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| 2,080
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This movie had terrible acting, terrible plot, and terrible choice of actors. (Leslie Nielsen...COME ON!!!) The one part I considered slightly funny was the battling FBI/CIA agents, but because the audience was mainly kids they didn't understand that theme.
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This movie is almost unknown, but it is very good. In a lonely Danish town, two old sisters live remembering a far youths, when, due to a strict puritan education, they had to reject happiness. Lonely, then, the live in a dignified austerity, until Babette, who flies from Paris, frightened by the horror of the war, arrives. In few time, she will be able to turn the goodness and love she received when she arrived. A good lottery prize lets her organize a great banquet, following the best rules of French gastronomy. All neighbourhoods are invited (all fanatically puritans). They accept, but they pact to not show any trace of pleasure or enjoyment, as it would be a sin. However, the seductive force of the delicious meal they eat, that they become seduced by the sensuality of French gastronomy. The banquet end in a very felt, though quietly, happiness. The love between humans has awaken. The miracle of rise the human kindness due to the pleasure of the sense has begun. The movie is surprisingly good, but it is not for all tastes. During most of the movie, nothing happens, all is so quiet and so peaceful, that during many minutes, you can only see the life of the inhabitants of the town. But, as the movie develops, it becomes more precious, when Babette wins the lottery prize (after 30min movie), the show begins. The author is able, with a perfect directing, to show us how Babette prepares the banquet, how she mixes all the ingredients with the most wonderful one (Love), all told in a quiet delicious way, with a perfect knowledge of photography and acting. Then, as the banquet goes by, the quality in showing us how the mood of all eaters changes due to the meal, only with first shots, with impressively filmed scenes one after another is simply astonishing. In addition, the tact with the colours and the photography is also superb, almost every scene of the movie is like a picture, so work is involved there. If you are able to admire good cinema and are able to realize that sometimes the way on telling you something rather than what is told is more important, this is your movie. If you happen to like good meals and just love the good gastronomy, probably, you'll feel amused, as most feelings of the movie will be familiar to you. An Oscar totally deserved. The only problem is its slowness at setting up the story, but, I can forgive it (I hope everyone too)
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The first part of Grease with John Travolta and Olivia Newton John is one of the best movie for teens, This one is a very bad copy. The change is only in the sex. In the first one the good one was Sandy, here it's Michael. I prefer to watch the first Grease.
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| 10,021
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My husband brought this home from the video store, so I could watch something while stuck home sick. The sort of sick where you could never concentrate on a book, but a sorta silly, light, romantic flick sounds just right (that, and a bowl of chicken soup). Well, he meant well.<br /><br />My first thought (as some others post here also) was that the house MUST be fake...it's not only isolated alone on the beach, but set on moorings into the loose sand, and so close to the ocean that the surf waves go directly under the house! This looks so obviously dangerous (in hurricane country, in THE FALL), so potentially disastrous that I was sure filmmakers had simply CGI'd the whole thing (or used movie magic to plunk a cute B&B into the surf).<br /><br />But I have to tell you guys, thanks to "teh interwebs", I can say that the house, "Serendipity" is very real, is indeed near Rodanthe and except for some window dressing and shrubs, appears mostly as it does in the film. You can rent it yourself, off season, for $1710 a week (or about $3850 in summer)! Go for it! But...interestingly, the house has severe problems. The second thing that struck me after "would be washed away" was "what about the plumbing/electrical? in that surf?", and sure enough, "Serendipity" was condemned for a break in the sanitation, caused by overwash from the ocean. (They are rebuilding.)<br /><br />And the house isn't from the "Civil War". Not to mention that Viola Davis, playing "cliché black best friend" (thankless role for a fine actress, last seen in "Doubt"), is not remotely old enough that her GRANDMOTHER could have built anything in the Civil War! HELLO! that was 150 years ago! Try great-great-GREAT! (In reality, "Serendipity" was built in 1988, laughably recently.) <br /><br />The basic film is built on a typical Nicholas Sparks weeper, which means a lot of coincidence and trite predictable happenstance. It is also aimed in a very pandering way towards "women" -- you know, us women who love B&Bs, fusty antiques and knick-knacks...who dream of romance and guys who look like Richard Gere and dancing in the moonlight. Don't give us plot, or thoughtful character development; just set up some mechanisms and bring on the love scenes!<br /><br />Gere plays a plastic surgeon, who lost a female patient during a routine surgery for a benign cyst on her cheek. Of course, she died of an overdose of ANESTHESIA, so you wonder right away why the surgeon is guilted up and not the anesthesiologist! HELLO! where is that guy? Why is the wrong doctor feeling guilty?<br /><br />Gere has come to pout and confront the woman's husband, and is staying at the remote B&B...who should be there, why the ONLY OTHER PERSON IN THE INN...Diane Lane! She's a lonely divorcée, with rotten kids, and an ex-hubby who wants her back. While she's trying to decide about that, the cliché best black friend has her subbing as hostess at the B&B.<br /><br />Now, in the real world, if this set up ever even happened, the doctor would look like Ernest Borgnine...and the lonely divorcée, like Rosie O'Donnell. He'd spend his vacation horndogging 22 year old girls on the beach, while she sulked and thought about going on a diet. But this isn't the real world; I digress.<br /><br />The couple confess all, fall in love, a hurricane hits...they make love, fall in love, he has to go away, he dies and she cries a lot about that. The end.<br /><br />There, I've saved you from it; now you don't have to torture yourself or any male acquaintances (husbands, sons, boyfriends) from sitting through this tripe. Very wearying.<br /><br />Someone else asked why Diane Lane, a perfect tiny woman (whom filmmakers seem to love to cast, because she's just pretty and thin enough that most women would like to look like her, but she's 45ish and not over-the-top, so she isn't threatening) is constantly covered in big tarp-like shawls. This would make sense if she was chubby, but she isn't.<br /><br />Anyways, someone throw a pretty, paisley shawl over this film. So we don't have to watch it. Conclusion: read a book, unless you are too sick. If too sick, go to sleep.
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Ken Harrison, a young sculptor in his early thirties, is seriously injured in a road accident. End of story.<br /><br />"End of story", that is, in the sense of "end of any physical action". Not in the sense of "end of the film". Ken's life is saved, but he is paralysed from the neck down. When he discovers that he is unlikely ever to regain the use of his limbs he decides that he wants to die and asks the doctors to end the medical treatment which is keeping him alive. The rest of the film is essentially one long debate about the rights and wrongs of euthanasia and the right to die.<br /><br />Ken's main antagonist in this debate is his doctor, Michael Emerson. Although the case against euthanasia is often presented in religious terms, here it is presented in purely secular ones. If Dr Emerson has any deep religious convictions, these are never expressed in the film. He believes passionately, however, that death is an enemy against which it is his duty as a doctor to fight; to allow a patient effectively to take his own life would represent a surrender to that enemy and a dereliction of that duty. Ken therefore finds himself in a "Catch-22" situation. He must be able to show that he is sane and rational enough to make the decision to end his life. Emerson, however, considers that a wish to die is in itself evidence of insanity and irrationality. Ken's dilemma can only be solved by hiring a lawyer to sue the hospital.<br /><br />Richard Dreyfuss as Ken and John Cassavetes as Dr Emerson put across their respective points of view skilfully and with sincerity, but this cannot hide the fact that "Whose Life is it Anyway?" simply does not work as a film. At one time filmed versions of stage plays were done in a similar way to theatrical productions but by the seventies and eighties this was often seen as unsatisfactory because of the differences between the two media. When plays were filmed, therefore, the general tendency was to "open them up" by filming on location as well as on studio sets, by taking liberties with the playwright's text, often making significant changes to the plot and even introducing extra characters.<br /><br />I have never seen Brian Clarke's play, but I suspect that this is a story that would work better in the theatre than in the cinema. There is very little physical action; most of the action consists of lengthy discussions around a hospital bed in which the main character lies paralysed. Such a plot does not lend itself to the "opening up" device at all, and the resulting film is very static, dominated by talk at the expense of action. Although it is well written and there is some good acting, I am surprised that a film was ever made of such an uncinematic subject. 4/10
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The idea had potential, but the movie was poorly scripted, poorly acted, poorly shot and poorly edited. There are lots of production flaws ... for example, Dr. Lane's daughter who never ages despite the passing years. Wait for video, but don't expect much.
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| 10,403
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The problem with TV today is that people have been spoiled by "lite" TV viewing. This type of television show is the equivalent of elevator music or "easy listening" jazz. The typical viewers idea of "continuity" is remembering who got voted off the island last week and wondering who will be the next to go. Show them a program like surface, Firefly, Dr. Who, or anything with a plot arc of more than three episodes and...well, they'll just flip back to Survivor.<br /><br />95% of the sheep watching TV don't want to rack their brains. They want excuses to not think. They want to make sure the "boob tube" lives up to its name...and they don't want shows that try and go any other route. Because of this, Surface and many other high-quality shows that should have lasted far longer have gotten the axe.<br /><br />TV viewers don't want stories, or morals, or philosophy, or anything over a third grade vocabulary level. They want people eating earthworms, or over-dramatized "real life" series (no such thing! You cannot observe something without changing the very nature of what you observe) or hormonal shows involving groups of people having trysts and then bragging about it to their friends.<br /><br />Today's television is nothing but a wasteland, and the few diamonds you can pick out of the dust are just tossed out because no one even knows what a diamond is anymore. Surface was one of those diamonds.
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I am having a holiday in hong kong now, and i just saw gen y cops at the cinema.... what can i say... it was sooo cool!!<br /><br />Everything you could wish for was in it! Basically... just see it if ya can... I'm gonna get my friend to send me the vcd when it comes out....<br /><br />Only bad thing was the dodgy American style of talking employed by some of the hl actors... like Edison... "What's up my man?!" but it did add even more humour to iy... hhehe<br /><br />See it... especially if ya like any of the following geners: HKfilm, action, comedy, sci fi! SEEITMAN!! Edison did a good song for it too... so download it... Edison Tse - Heroes
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Here's a decidedly average Italian post apocalyptic take on the hunting/killing humans for sport theme ala The Most Dangerous Game, Turkey Shoot, Gymkata and The Running Man.<br /><br />Certainly the film reviewed here is nowhere near as much fun as the other listed entries and is furthermore dragged down by poor voice over work, generally bland action sequences, a number of entirely tasteless scenes such as a prolonged rape sequence and some truly stupid and illogical points throughout.<br /><br />Take for example towards the end of the film, when our hero manages to infiltrate the compound of the villains. He initially kills a sentry and leaves him in his jeep. Upon discovery of the said corpse, the villains response? (bearing in mind that our hero has come to brutally murder them all) They resolve to wait until the next morning to look for the culprit (!!!!!!!!!!)<br /><br />However, I suppose to be fair the film remains nonetheless about watchable if you can suspend your disbelief during such stupid scenes and does benefit immensely by the presence of the always excellent Woody Strode (even if his screen time is very limited)<br /><br />Not a classic by any stretch of the imagination but still just about worthy of a watch for Italian B-Movie enthusiasts.
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Knowing when to end a movie is just as important as casting, directing and acting. And it's nice to see when a director/script get it right. Clocking in at just 82 minutes, 10 ITEMS OR LESS doesn't stretch the story, trying to grasp at inane topics. It stays focused, being funny, sad, and well thought out.<br /><br />Morgan Freeman (LUCKY NUMBER SLEVIN) stars as "Him", an aging actor grasping at any roles presented to him. We're introduced to "Him" as he travels to a supermarket in an out-of-the-way section of town by The Kid (Jonah Hill, CLICK). Realizing he has a star in his car, The Kid pressures Him to talk about his absence in cinema over the past few years. Him isn't very forthcoming because, not only has he been out of it for while, he's also en route to a shooting location of an indie film he might act in ("I haven't decided if I'm going to accept the part."). The Kid is a relative of the director involved in this indie venture and soon drops him in the middle of nowheresville. Stuck, Him decides to check out the local market. He immediately runs into the beautiful Scarlet (Paz Vega) who operates the 10 items or less register. Not just strikingly pretty but intelligent, Him begins using her as his prime research subject for his upcoming independent film role. He learns how she figures out numbers so quickly and why she knows the quirks of every member of this isolated community.<br /><br />But Him doesn't just use Scarlet, he helps her so he can see deeper into her life. They travel together to get her car back from a cheating husband, and he teaches her how to act to get a new job she's pining for, and how to dress for success even when confronted with Target as the epitome of local clothing. This is probably one of the funniest moments as we get a glimpse of Him, too, showing his complete lack of understanding of the chain-store retail world ("These shirts are only $12 bucks! How is this possible?!") The ending, as stated at the beginning of this review, is abrupt but apropos. There's no way these two could ever remain friends even though they form a unique bond. They know when to say goodbye and what each garnered from the other. It's a quiet but riveting moment as Scarlet's clunker car sits idling outside Him's L.A. mansion.<br /><br />This is a great independent production and one that wastes little time getting going. And it won't waste your time either.
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What surprised me most about this film was the sheer audience it attracted. Similar films such as Anita and Me have never caused as much hype as this film has, though I think that's probably because of the mention of 'Beckham' in the title more than anything else.<br /><br />It's a brilliant film putting across a brilliant message - you can do anything if you're determined enough, and put your mind to it, which is such a positive message to anyone watching this film.<br /><br />I think this is one of Keira Knightley's better films, and I think she's a brilliant actress, and was excellent for the role. Parminder Nagra was brilliant too. Sadly, I can't say this for Jonathan Rhys-Meyers, because I don't think that he was that much of a good actor, and to be honest, his eyes were a little scary.<br /><br />All in all, a brilliant film, and a brilliant story
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I have to agree with MR. Caruso Jr Lanza,s was the finest voice god had to offer if only he could have found the courage to go for broke leave Hollywood and head for the opera he could have been the American Caruso everyone says he could have been but in any case he is a fantastic introduction to the art form no bones about it and if thats the way its gonna be so be it. see the film you'll see why Mr Lanza still come up in discussion even in my house. Someone says Pavarotti i say MARIO LANZA.As for the film itself when will it be on DVD they must have it restored and VHS isn't good enough but this should also be the only Lanza film put on DVD the others are down right bad and boring .
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I noticed at once that this movie really wasn't based on Dodie Smith's novel. In any case, it was a nice idea that Pongo and Perdita's son now had his own puppies. The cutest of the Dalmatians was, of course, little Snowball who was completely spotless till the very end of the film. <br /><br />To be honest, I didn't know what to think when Cruella de Vil seemed to have changed completely kind. In fact I have often thought about the possibility that she could become friendly, but now that she so quickly changed into "herself" again and announced that she was Cruella once more, I almost began to be really worried about Chloe's Dalmatians.<br /><br />Actually, the scene in which the puppies watched Lady and the Tramp while Chloe and Kevin had their dinner, was much better than I had expected. I also was fond of the parrot who played to be a dog, and it was incredible that the dogs had learned so many tricks for this movie. <br /><br />Of course I was content that at the end the Dalmatians were saved again, but I would have liked to know what was going to happen to Cruella after she had lost her whole property. And what on earth could the dogs' home do with such a huge sum of money?<br /><br />Finally, it was quite touching that Snowball also had spots at the very end of the film.
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Well what do you know, I was painting my house today and an Elton john song came on the radio, which immediately took me back to this movie which i saw in 1971. So long ago and so far away. Ten years later i hitched hiked through the country side of France, and i sure would have been keen to see Michelle. The film is probably not very sophisticated by todays standards, more's the pity, but it seemed rather racy back then. A few years later a sequel was made with Michelle living in a high rise in Paris and Paul coming back to meet her, just like life they had moved on, the film was very downbeat. Still the original was fab, and if you can get a copy go rent it, just remember to give it its' due and treat it gently. I note Americans can be rather prudish, so take note, contains scenes and themes possibly upsetting to middle America.
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Jodie Foster, Cherie Currie (the former lead singer of the seminal all-girl rock group the Runaways in her remarkably able acting debut), Marilyn Kagan, and Kandice Stroh are uniformly believable, splendid and touching as the titular quartet, who are a tight-knit clique of troubled, fiercely loyal adolescent girls with negligent, uncaring, self-absorbed parents who do their best to grow up and fend for themselves in the affluent San Fernando Valley, California suburbs. The girls are forced to make serious decisions about sex, drugs, alcohol, commitment, and so on at a tender young age when they're not fully prepared to completely own up to the potentially harmful consequences of said decisions. Foster, giving one of her most perceptive, affecting and underrated performances to date, is basically the group's den mother who presides over the well-being of both herself and the others; she's especially concerned about the good-hearted, but reckless and self-destructive Currie, whose carelessly hedonistic lifestyle makes her likely to meet an untimely end.<br /><br />This picture offers a poignant, insightful, often devastatingly credible and thoroughly absorbing examination of broken, dysfunctional families which exist directly underneath suburbia's neatly manicured surface and the tragic net result of such families: tough, resilient, but unhappy and vulnerable kids who have to confront the trials and tribulations of growing up on their own because their parents are either too inconsiderate or even nonexistent. Adrian ("Fatal Attraction," "Jacob's Ladder") Lyne's direction is both sturdy and observant while Gerald Ayres' script is somewhat messy and rambling, but overall still accurate in its frank, gritty, unsentimental depiction of your average latchkey kid's nerve-wrackingly chaotic, capricious and unpredictable everyday life. Leon Bijou's soft, dewy, almost pastoral cinematography properly suggests a delicate and easily breakable sense of tranquility and innocence. Giorgio Moroder arranged the excellent score, which makes particularly effective use of Donna Summer's elegiac "On the Radio." The top-notch cast includes Sally Kellerman as Foster's neurotic, insecure, peevish mother, Scott Baio as a sweet skateboarder dude, Randy Quaid as Kagan's rich older boyfriend, British 60's pop singer Adam Faith as Foster's feckless, absentee rock promoter father, and Lois Smith as Kagan's smothering, overprotective mother. Appearing in brief bits are Robert Romanus (Mike Damone "Fast Times at Richmont High") as one of Foster's morose ex-boyfriends and a gawky, braces-wearing Laura Dern as an obnoxious party crasher. Achingly authentic, engrossing and deeply moving (Currie's grim ultimate fate is very heart-breaking), "Foxes" is quite simply one of the most unsung and under-appreciated teen movies made about early 80's adolescence.
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A great combination: - Chabat's humor - Uderzo/Goscinny world and characters - limited presence of Christian Clavier<br /><br />The original Comics was great - one of the better of an overall great series - and Alain Chabat, one of the funniest member of the famous French group Les Nuls, was able to film, replicate and supplement, the great work done by goscinny and uderzo by cleverly enforcing the story, giving to Djamel Debouze his best role (at last a little bit far from his usual repeatable part), gathering a bunch of great actors (Gerard darmon is wonderful, as often, Chabat himself is a great Cesar).<br /><br />In addition, while being obligated to keep on with Christian Clavier as Asterix, Chabat cleverly tuned down his role in the movie to give prominence to Darmon and Debouze... which is always a good idea!<br /><br />=> Great environment, great scenario, great director, great actors, great humor, beautiful Cleopatra... This movie would have deserved a 10 if Clavier hadn't been involved.
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This movie was extremely funny, I would like to own this for my vintage collection of 1970s movie must see again list, I know this cast of characters ,they are people that I have met over the years and that prompt me to search out this comedy, unfortunately this was never put to DVD or VHS. Redd Foxx always a clown of comedy, Pearl Baily a great match as his wife witty and sassy, Norman a son with a secret not sure if he will have a future if it is out,Dennis Dugan crazy funny man . Miss Dobson hooker with a heart and little conscience. Love,lust,strange family ties this movie qualifies for a come back encore performance ,situation comedy with a mix of events as this could and should find its way as a remake, I do think finding cast would be extremely difficult maybe impossible,except Jerry Seinfeld playing Dennis Dugan role, this earmarks a couple of Seinfeld episodes that also brought me back to Norman is that you ,keeping them in the closest was surely impossible as impossible to reform pretend hooker girl friend and infidelity of a parent. This movie was a wild ride advise of a cabbie, remind me of episode Kramer takes advice of his caddie over his lawyer. ( episode from Seinfeld ) The parents have there jaw dropping moment, fun over fun It is screaming bring me back .
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What an embarassment...This doesnt do justice to the original with awful acting from everyone in this movie, Hitchcock must be spinning in his grave. The scence where Marion gets killed in the shower is just so uneffective and unoriginal. The only good bit is that they used the same music and its so obvious who kills her in the shower. I rate this movie 3/10
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I was never in the past interested in this play although love Shakespeare and have seen most of his plays now and enthusiastically studied some at school. Something about this story and all the fuss about it seemed to put me off. I never bothered to try to see Hamlet until fairly recently deciding I should at least try to watch it and I borrowed the Olivier version from the library. Well, I struggled with it. Olivier seemed far too old, not only in his looks but in his acting of the part. The play had been enormously cut to fit a more conventional movie length and I think must have missed out too much as I found it difficult to concentrate on it, soon became bored and annoyed by it. I still think Olivier's Henry V is the best version I've seen of that rousing play - tho' admit I haven't rewatched the Beeb version yet and can't recall how it was when first shown.<br /><br />I heard of the Branagh full length version of Hamlet. Although I enjoyed his Much Ado, I think the Beeb version is far better and I wasn't entirely impressed by his Henry V. But I was off Branagh a bit after seeing his disappointing effort at a musical of Love's Labour's Lost which is a play I like and was so well made by the Beeb. <br /><br />Finally acquiring the complete Beeb Shakespeare on DVD recently, I soon rewatched one of my most favourite Shakespeare plays, Richard II, and was simply enthralled by Jacobi in the part so was immediately persuaded to watch his Hamlet next. What a revelation this play now is for me! Yes, it is splendid, but I feel it needs an actor you can emphathise with to play Hamlet and this for me is Jacobi. Amazing. Intriguing to note that although he is older than I understand the character Hamlet was, it doesn't show whilst in Olivier it did. Now I note he's also in the Branagh version and had much to do with training Branagh, so I shall have to watch that to see what Jocobi does with Claudius! I'm interested to discover Jacobi has trained Branagh as yes, you can certainly see the influence.<br /><br />And now I'm going to watch it all over again....
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| 14,650
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This movie was, perhaps, one of the most unoriginal and unfunny films I've seen in a long, long while. To be fair, I was not expecting some revolutionary comic formula, but I was anticipating to at least be entertained. With such low expectations, how could I manage to be disappointed? <br /><br />Jim Carrey, possibly my favorite actor (not sarcasm), did little more than tread water in this film. He seems to have temporarily returned to his funny-face-making roots and created a character no different from his Fletcher Reede from Liar Liar. This new character, Dick Harper (a.k.a. Fletcher 2.0) is a poorly rendered and miserably written whelp. If you find yourself smiling while watching this pitiful and essentially boring character, it is most likely because Carrey is trying so hard to bring a third dimension to him. Carrey's outlandish posing becomes humorously awkward--and, ultimately, sad.<br /><br />Tea Leoni as Jane does little more than provide the Abbott to Carrey's Costello. I typically find Tea Leoni refreshing and underused, but not in this case. Jane Harper could have been easily played by any actress from age thirty to forty-five, and it is in that non-specificity that the character of Jane becomes uninteresting to watch. She simply has no defining trait other than her following of the movie's general theme, which seems to be that... Wait, no, this movie has no theme. Unless you count "Big Business Is Evil" as a theme. I thought that was more of a given.<br /><br />Richard Jenkins and Alec Baldwin both deliver believable (though tired) supporting performances, but neither man seems truly invested in the role they're playing. It's very clear that Alec Baldwin was putting about as much effort into playing his role as the sinister C.E.O. as he puts into eating a sandwich (which he seems to be doing a lot of lately).<br /><br />Slight tangent, but has Alec Baldwin played any roles in the past few years that hasn't required him to be a powerful jerk in a suit? <br /><br />Anyway, take my advice if you haven't already witnessed the horror for yourself: save your money. This is the one to catch on HBO in a few months. Dick and Jane are present, but there's no fun to be had.
| 0
| 10,656
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I saw this movie, and I do like horror movies.<br /><br />I did not know what to expect, but as soon the movie was on his way it was nice to watch it. The idea was pretty original and the acting was nice. Especially Jenna Dewan as the exciting/evil Tamara.<br /><br />The hardest thing about horror movies, is to make a good ending. But there the movie failed. For a change, a end-scene in a hospital, where suddenly all employees are gone. First you see doctors and nurses running around, but then they all went home?<br /><br />No cries for help while being chased by Tamara, Escaping to the roof (also a smart move...not) and off course a kind of open ending.<br /><br />No....the movie started great, the main part was nice to watch, but they really messed up the ending using all clichés from bad horror movies. Jeffrey Reddick failed in my eyes with this movie, after making some really quality movies like Final Destination 1 and 2.<br /><br />If you like a good horror full of cliché endings, Tamara is a good movie to watch. For me, I like movies which surprise me.
| 0
| 7,132
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I've never written a comment on IMDb before, but this movie was so bad it left me little choice but to warn you not to waste the two hours of your life. As an avid WWII historian, I don't even know where to begin on how historically inaccurate this movie was. Carbines with Korean War bayonet lugs, K98k's missing cleaning rodes and sight hoods, German uniforms that didn't exist, the list could go on forever. Added that it's loaded with flaws, has literally no plot or climax, and acting on par with your local high school theater. The epitome of cheesy. <br /><br />PLEASE...there are too many good WWII movies out there to waste your time on this junk.
| 0
| 11,737
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"Murder by Numbers" stars Ryan Gosling and Michael Pitt as two rebellious high schoolers who are content on the perfect murder for the sake of overcoming their shattered self-esteem. Sandra Bullock plays the heroic thorn in the way of their plans as Det. Cassie Mayweather. This is nowhere near the traditional finger-pointing murder mystery as the film graciously reveals the killers to us (Gosling and Pitt). What the film does instead is concentrate on the purposes of their killings and if they have what it takes to commit the perfect murder. <br /><br />The title itself is a rightfully chosen one for various reasons mainly being that the "Numbers" in the title is the most vocal. The angle focusing on the reasons behind the heinous killings, although will haunt you with its chilling dialogue (especially from the callous boys), it doesn't fully live up exploring the origins of what lead them to their killing frenzy. The characters are riveting you have the good-looking rich kid Richard (Ryan Gosling) and the intelligent but socially awkward Justin (Michael Pitt). In school, they pretend that they despise one another, and even share a liking towards the a classmate name Lisa (Agnes Bruckner), but off-school they are allies and collaborate in a ritual in which murder is an escape to free the mind. <br /><br />Sure the story involving the boys seems exciting, but it's pushed in the background to a more mundane subplot involving Det. Mayweather (Bullock) who assumes their murders was because of discrimination (hence the arrogant looks of Gosling) and unexplained characteristics but manages to get it right. At first, the audience may despise Cassie's character due to the fact she's very headstrong and not very supportive. She displays dominance and control over her junior partner Sam Kennedy (Ben Chaplin). Even as he tries to reason with her, he knows it's a battle he surely won't likely win.<br /><br />The reason behind her tyrant behavior stems back in which Cassie was the sad victim of a crime that has left a permanent mental scar on her. This side-story does not have much of a place in this movie partially because it doesn't offer anything riveting with the main plot (the boys' murder spree). It also offers some development to Bullock's character in the movie but it's only a half-assed job and not very fulfilling. I would've liked it if they the diabolical students had a side-story. The resources were right there in front of them for the perfect crime foil, the creative schemes for the boys to manipulate the cops with their phony evidence and lies just to get out of a potential life-sentence in jail.<br /><br />Despite the lopsided sub-plots and the pointless "real killer" ending, "Murder By Numbers" sports a strong performance by a great cast. Sandra Bullock was convincing as the tough verbally remorseless cop who tries to shift her inner pain to a more positive light. Ben Chaplin shows his strength as the young detective who tries every way to understand his partner and is able to fend off her occasional tyrannical put-downs. But the scene stealer's are the devilish duo of Michael Pitt and Ryan Gosling as they keep you glued to their seat waiting for what they're going to do next. The chemistry of the boys is reminiscent to Matt Damon-Jude Law in "The Talented Mr. Ripley".
| 1
| 18,286
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I have seen Slaughter High several times over the years, and always found it was an enjoyable slasher flick with an odd sense of humor, but I never knew that it was filmed in the UK, and I never knew that the actor that plays Marty Rantzen (Simon Scuddamore) committed suicide after the film was released. I guess I did notice while watching it last night that the actors phrasing seems rather odd for Americans, and a few of them aren't very good at hiding their English accents.<br /><br />All that aside though, this is the tale of the class nerd, Marty, who is the butt of jokes from his classmates, and on one particular day, April Fools Day, he's lured into the girl's locker room by one Caroline Munro (yes, playing a teenager) and humiliated big time on film. Of course, the coach catches the gang at work & they're all given a vigorous workout to punish them, but not before a couple of the guys slip Marty a joint, which he tries to smoke in the chemistry lab, but it's full of something that makes him sick & when he runs to the restroom, one of his classmates slips in and puts a chemical that reacts with something Marty is mixing, which results in a fire and the spill of a bottle of nitric acid, which leaves poor Marty burned & horribly scarred.<br /><br />Ten years later, this same gang is headed for their class reunion at good old Doddsville High, which seems oddly boarded up and inaccessible, but thanks to ingenuity they manage to get in and find the place seemingly derelict...except there's a room where a banquet and liquor is laid out and so of course, they eat, drink, and be merry. For soon, they will die, of course.<br /><br />The gang is stalked one-by-one by a figure in a jester's mask, but could it be Marty? They don't know, they figure he's either in a loony bin or working for IBM, they're not sure which. But whoever it is, he's making quick work of them. Particularly nasty is the girl that takes a bath to wash blood off her from one of her classmates whose innards popped all over her when he drank poisoned beer. She is victim to an acid bath which I believe may have been one of the parts originally cut in the tape version, because it seemed extra nasty when I watched it this time. I could be wrong but I believe that wasn't on the tape.<br /><br />At any rate, there's somewhat of a twist ending, and that also contains footage not on the tape, I believe. There's also a bit of frontal nudity early on that was also excised, but apart from that I didn't really notice if there were other bits on this uncut version, probably so but it's been a while since I've last seen it.<br /><br />At any rate, if you're a fan of 80's slasher flicks then snap up the new release DVD, because it's a fun little slasher with a good atmosphere & feel to it. 7 out of 10.
| 1
| 22,440
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This film made John Glover a star. Alan Raimy is one of the most compelling character that I have ever seen on film. And I mean that sport.
| 1
| 23,554
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This movie started out cringe-worthy--but it was meant to, with an overbearing mother, a witch of a rival, and a hesitant beauty queen constantly coming in second. There was some goofy overacting, and a few implausible plot points (She comes in second in EVERY single competition? ALL of them?) Unfortunately, the movie suffers horribly from it's need to, well, be a TV movie. Rather than end at the ending of the movie, an amusing twist in which the killer is (semi-plausibly) revealed, the movie continues for another twenty minutes, just to make sure that justice is done. Of course, now that the killer is revealed, she suddenly undergoes a complete personality shift--her character gets completely rewritten, because the writers don't need to keep her identity secret any more. The cheese completely sinks what otherwise could have been a passably amusing movie.
| 0
| 5,217
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